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 Dominica and from Salvador.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Mexico City 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Chris & Cosey to the electroclash kids.
I played it at the Crocodile.
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 Eli Mardock. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Public Image Ltd. 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Scratch Acid,
The Black Dice,
Brick,
Gang Green,
Procol Harum,
Section 25,
Barrington Levy,
Minny Pops,
Traffic Nightmare,
Jawbox,
Pete Rock & C.L. Smooth,
Crispian St. Peters,
D'Angelo,
Deakin,
DJ Style,
The Blues Magoos,
Nik Kershaw,
Dual Sessions,
The Divine Comedy,
Barbara Tucker,
LL Cool J,
Bobby Sherman,
Magazine,
James Chance & The Contortions,
Jimmy McGriff,
Reagan Youth,
Lou Reed & John Cale,
Lightning Bolt,
Kerrie Biddell,
X-101,
Henry Cow,
Marshall Jefferson,
Archie Shepp,
Slave,
Maurizio,
The Techniques,
The Fuzztones,
Kauko Röyhkä ja Narttu,
The Wake,
the Human League,
Bill Near,
Todd Terry,
Average White Band,
Cabaret Voltaire,
Television,
Bootsy Collins,
The Beau Brummels,
Animal Collective,
The Mojo Men,
Ohio Players,
Gastr Del Sol,
Heaven 17,
Notorious Big And Bone Thugs,
The Alarm Clocks,
The Shadows of Knight,
The American Breed,
Easy Going,
The Pretty Things,
Visionaries,LMNO, T- Love & Iriscience,
Ultimate Spinach,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.