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 Australia and from Taipei.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1979.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Stockholm 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 Bronski Beat practice in a loft in Brixton.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Black Moon to the techno kids.
I played it at the Roxy.
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 Laurel Aitken. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Schoolly D,
Oneida,
Skaos,
the Sonics,
Little Man,
Sun City Girls,
Lalo Schifrin,
the Normal,
The Doors,
The Gun Club,
Minnie Riperton,
Traffic Nightmare,
Peter & Gordon,
Joey Negro,
Girls At Our Best!,
Gong,
Cal Tjader,
Intrusion,
Dark Day,
Bad Manners,
Unrelated Segments,
FM Einheit,
Stereo Dub,
Vainqueur,
Judy Mowatt,
Soul II Soul,
Monolake,
Ossler,
Suicide,
Bob Dylan,
Tubeway Army,
The Blackbyrds,
New Order,
Circle Jerks,
The Five Americans,
Maleditus Sound,
Ponytail,
Joyce Sims,
Gichy Dan,
Jandek,
Sex Pistols,
E-Dancer,
Sight & Sound,
Iggy Pop,
New York Dolls,
Radiopuhelimet,
The Stooges,
The Smiths,
Dave Gahan,
Outsiders,
John Holt,
Rotary Connection,
Trumans Water,
Sandy B,
Kerrie Biddell,
Grey Daturas,
Andrew Ashong & Theo Parrish,
Sunsets and Hearts,
Lou Reed,
The Evens,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.