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 United States and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Notorious BIG live in Amsterdam to the crunk kids.
I played it at Cafe Wha.
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 Juan Atkins. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Gian Franco Pienzio,
The Residents,
Monolake,
London Community Gospel Choir,
Marshall Jefferson,
Simply Red,
MC5,
The Blues Magoos,
U.S. Maple,
Warren Ellis,
Soul Sonic Force,
Eric Dolphy,
Pantytec,
Lower 48,
Matthew Bourne,
Marc Almond,
Yusef Lateef,
Pagans,
Liliput,
Iggy Pop,
Mary Jane Girls,
Jimmy McGriff,
The Men They Couldn't Hang,
The Mojo Men,
Lou Reed,
Livin' Joy,
Dual Sessions,
Infiniti,
Lyres,
The Standells,
Joe Finger,
Grey Daturas,
Dorothy Ashby,
H. Thieme,
Bluetip,
Organ,
Captain Beefheart & His Magic Band,
Nation of Ulysses,
Chrome,
The Buckinghams,
The Pop Group,
Terror Squad Feat. Camron,
Oppenheimer Analysis,
Symarip,
Grandmaster Flash,
Brand Nubian,
Jacques Brel,
Bobby Byrd,
Buzzcocks,
Moss Icon,
Amon Düül II,
Lightning Bolt,
Adolescents,
June Days,
the Fania All-Stars,
It's A Beautiful Day,
The Invisible,
Lakeside,
Johnny Osbourne,
Nils Olav,
The Selecter, The Selecter, The Selecter, The Selecter.
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.