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 Georgia and from Tehran.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Glenn Branca to the techno 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 London Community Gospel Choir. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
The Fire Engines,
Deadbeat,
London Community Gospel Choir,
The Vogues,
Spoonie Gee,
Tomorrow,
The Mighty Diamonds,
Procol Harum,
CMW,
Jerry's Kids,
Drexciya,
Gastr Del Sol,
the Slits,
Blancmange,
Popol Vuh,
Shoche,
Intrusion,
The Names,
The West Coast Pop Art Experimental Band,
Sällskapet,
Bobby Womack,
Amazonics,
Justin Hinds & The Dominoes,
Fifty Foot Hose,
The Shadows of Knight,
Newcleus,
Second Layer,
Gil Scott-Heron & Brian Jackson,
Judy Mowatt,
Barbara Tucker,
John Holt,
Cal Tjader,
Juan Atkins,
F. McDonald,
Das Ding,
The Happenings,
Lou Reed & John Cale,
Rhythim Is Rhythim,
Frankie Knuckles,
Thinking Fellers Union Local 282,
Kerri Chandler,
The J.B.'s,
Lizzy Mercier Descloux,
Rekid,
Röyhkä ja Rättö ja Lehtisalo,
The Flesh Eaters,
Mars,
Ultramagnetic MC's,
Radio Birdman,
New York Dolls,
Banda Bassotti,
Ossler,
Kool Moe Dee,
Eli Mardock,
Con Funk Shun,
Ralphi Rosario,
The Fall,
James Chance & The Contortions,
Manfred Mann's Earth Band,
Kaleidoscope,
The Dirtbombs,
Avey Tare,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.