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 Mauritania and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Portland and Spokane.
I'm losing my edge to the art-school Lagos 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 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 Pulsallama to the rap kids.
I played it at the Astoria.
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 Jacob Miller. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Fad Gadget 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
The Fortunes,
Roxette,
Archie Shepp,
Ludus,
Kango’s Stein Massive,
The Royal Family And The Poor,
The J.B.'s,
Erasure,
Fad Gadget,
Delon & Dalcan,
DJ Style,
Red Lorry Yellow Lorry,
Faraquet,
Fluxion,
Dorothy Ashby,
LL Cool J,
Quadrant,
The Divine Comedy,
Barrington Levy,
Khruangbin,
Drive Like Jehu,
The Count Five,
Susan Cadogan,
James White and The Blacks,
Bill Near,
Smog,
Siglo XX,
Bobby Womack,
Sun Ra Arkestra,
The Gories,
Scientists,
KRS-One,
The Last Poets,
Juan Atkins,
The Moody Blues,
Althea and Donna,
Dual Sessions,
Brass Construction,
Rites of Spring,
The Litter,
Jerry's Kids,
Sound Behaviour,
New Age Steppers,
Negative Approach,
Can,
Interpol,
Barbara Tucker,
Altered Images,
Lebanon Hanover,
Josef K,
Soulsonic Force,
Marc Romboy vs. Booka Shade,
Mary Jane Girls,
Cameo,
Magazine,
Scott Walker,
Trumans Water,
Yazoo,
The Sonics,
Pussy Galore,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.