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 Tunisia and from Spokane.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 808 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 Eli Mardock to the rock 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 Ash Ra Tempel. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Metal Thangz,
The Associates,
Marshall Jefferson,
James Chance & The Contortions,
Alton Ellis,
Brand Nubian,
Matthew Halsall,
Deadbeat,
Sixth Finger,
Moss Icon,
Albert Ayler,
The Skatalites,
Television,
The Moleskins,
Underground Resistance,
Cecil Taylor,
The Invisible,
Fatback Band,
Yaz,
Howard Jones,
kango's stein massive,
Boogie Down Productions,
Shuggie Otis,
Bauhaus,
Jerry's Kids,
PIL,
Icehouse,
Infiniti,
Q and Not U,
Young Marble Giants,
Siglo XX,
The Move,
Sam Rivers,
The Cowsills,
Easy Going,
Theoretical Girls,
Rowland S Howard / Lydia Lunch,
Matthew Bourne,
cv313,
Ossler,
Nation of Ulysses,
The Toasters,
Jeff Lynne,
Soulsonic Force,
Henry Cow,
Circle Jerks,
Anthony Braxton,
Stockholm Monsters,
Archie Shepp,
The Fire Engines,
The Chocolate Watch Band,
Unrelated Segments,
Rhythim Is Rhythim,
Scott Walker + Sunn O))),
Frankie Knuckles,
Leonard Cohen,
Larry & the Blue Notes,
Accadde A,
Crispy Ambulance,
Joe Finger,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.