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 Russia and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Lille 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Nik Kershaw to the electroclash kids.
I played it at the 40 Watt.
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 Alton Ellis. All the underground hits.
All Aural Exciters 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 jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
The Human League,
Anthony Braxton,
KRS-One,
Technova,
The Invisible,
Nick Fraelich,
Camberwell Now,
Young Marble Giants,
Joensuu 1685,
Jeff Mills,
Eyeless In Gaza,
Electric Prunes,
John Cale,
The Misunderstood,
Eddi Front,
Dave Gahan,
Ralphi Rosario,
Crime,
The Moody Blues,
Outsiders,
James White and The Blacks,
Sam Rivers,
Zapp,
Basic Channel,
Severed Heads,
Junior Murvin,
Matthew Halsall,
The Walker Brothers,
The Gun Club,
Unrelated Segments,
Deepchord,
Pussy Galore,
Matthew Bourne,
Arcadia,
Kauko Röyhkä ja Narttu,
Prince Buster,
Main Source,
John Lydon,
The Remains,
Lakeside,
Cecil Taylor,
Bill Wells,
Bobby Hutcherson,
Wolf Eyes,
Tears for Fears,
Lou Christie,
Red Lorry Yellow Lorry,
Suicide,
Drexciya,
Pantytec,
F. McDonald,
Lonnie Liston Smith,
Andrew Ashong & Theo Parrish,
Alton Ellis,
Todd Rundgren,
Q65,
Sun City Girls,
Joy Division,
Grandmaster Flash,
Black Flag,
DNA,
Dorothy Ashby,
Orchestral Manoeuvres in the Dark,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.