Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Luxembourg and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Winnipeg kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Radio Birdman to the jazz kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Anakelly. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Major Organ And The Adding Machine,
Stockholm Monsters,
The Victims,
Larry & the Blue Notes,
The Doobie Brothers,
Minny Pops,
Technova,
Tears for Fears,
Jerry's Kids,
Underground Resistance,
Freddie Wadling,
8 Eyed Spy,
Rowland S Howard / Lydia Lunch,
Khruangbin,
Symarip,
Los Fastidios,
Chris Corsano,
Scan 7,
Marine Girls,
Prince Buster,
Qualms,
Patti Smith,
Heavy D & The Boyz,
Oneida,
Johnny Osbourne,
The Standells,
Lebanon Hanover,
Lower 48,
Sister Nancy,
The Men They Couldn't Hang,
Pantytec,
Sugar Minott,
Marshall Jefferson,
Joy Division,
The Red Krayola,
Visionaries,LMNO, T- Love & Iriscience,
Jawbox,
Fluxion,
Minor Threat,
Infiniti,
Soul Sonic Force,
Dead Boys,
Television Personalities,
The Kinks,
The Electric Prunes,
The Tremeloes,
Glambeats Corp.,
FM Einheit,
Camberwell Now,
New Order,
Sly & The Family Stone,
The Move,
Todd Terry,
Bill Near,
Cybotron,
The Jesus and Mary Chain,
Scrapy,
Warren Ellis,
Whodini,
Beasts of Bourbon,
Smog, Smog, Smog, Smog.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.