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 Turkmenistan and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Bremen 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 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 Echospace to the dance kids.
I played it at the Spitz.
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 Dawn Penn. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
MDC,
Avey Tare & Kría Brekkan,
Marshall Jefferson,
Roxette,
Alton Ellis,
Tres Demented,
Minny Pops,
Marcia Griffiths,
Louis and Bebe Barron,
The Victims,
Severed Heads,
Vaughan Mason & Crew,
Pantaleimon,
Sun Ra Arkestra,
Althea and Donna,
The Blues Magoos,
Mantronix,
Laurel Aitken,
Sugar Minott,
Camouflage,
Parry Music,
Sonic Youth,
Terrestrial Tones,
Von Mondo,
Fifty Foot Hose,
Man Eating Sloth,
Suburban Knight,
Lalo Schifrin,
Pharaoh Sanders and the Fire Engines,
Todd Rundgren,
The Barracudas,
Pharoah Sanders,
Lakeside,
Kurtis Blow,
Notorious Big And Bone Thugs,
The Busters,
Sister Nancy,
The J.B.'s,
Black Pus,
Bronski Beat,
Alison Limerick,
Richard Hell and the Voidoids,
Kevin Saunderson,
The Dirtbombs,
Zapp,
Michelle Simonal,
Organ,
Lebanon Hanover,
Half Japanese,
Excepter,
Swans,
The Monochrome Set,
Pet Shop Boys,
DeepChord presents Echospace,
Matthew Halsall,
AZ,
Gerry Rafferty,
R.M.O.,
Ajijia Myrayebe,
Ralphi Rosario,
Unwound,
Fat Boys,
The Doors,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.