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 Djibouti and from Manila.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Spokane.
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 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 The Victims to the funk kids.
I played it at the Troubador.
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 James Chance & The Contortions. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
the Human League,
The J.B.'s,
Deakin,
Nick Fraelich,
The Slackers,
Dual Sessions,
Avey Tare's Slasher Flicks,
Minnie Riperton,
Cameo,
Rod Modell,
Babytalk,
Shoche,
The Martian,
Sonic Youth,
Lonnie Liston Smith,
the Swans,
Erasure,
Electric Light Orchestra,
Ultimate Spinach,
The Smoke,
Arcadia,
Motorama,
Harmonia,
Mary Jane Girls,
Severed Heads,
David McCallum,
The Associates,
Sarah Menescal,
The Litter,
The Victims,
The Real Kids,
U.S. Maple,
Public Image Ltd.,
Tropical Tobacco,
The American Breed,
Dr. Dre and Snoop Doggy Dog,
Can,
Das Ding,
Sugar Minott,
Monolake,
Juan Atkins,
Sun Ra Arkestra,
Eden Ahbez,
Quadrant,
Popol Vuh,
Bobbi Humphrey,
Quantec,
Marmalade,
Joyce Sims,
Minor Threat,
Danielle Patucci,
Talk Talk,
Kerri Chandler,
Radiohead,
Ludus,
Icehouse,
Hardrive,
Bush Tetras,
Lightning Bolt,
Darondo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Happenings, The Happenings, The Happenings, The Happenings.
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.