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 Belgium and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Joyce Sims to the crunk kids.
I played it at the Roxy.
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 Chris & Cosey. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
These Immortal Souls,
Bootsy Collins,
Aural Exciters,
Piero Umiliani,
Erykah Badu,
Qualms,
Reuben Wilson,
Stiv Bators,
Robert Hood,
Chris & Cosey,
Vaughan Mason & Crew,
The Fortunes,
Barrington Levy,
Wire,
Fat Boys,
Anakelly,
The Golliwogs,
Nas,
The Angels of Light,
L. Decosne,
Johnny Clarke,
Joe Finger,
Moss Icon,
Godley & Creme,
E-Dancer,
Alton Ellis,
Mark Hollis,
Boredoms,
Dual Sessions,
Unrelated Segments,
Derrick May,
Q65,
Lungfish,
Boogie Down Productions,
Tres Demented,
Alison Limerick,
Fifty Foot Hose,
Cabaret Voltaire,
Soft Machine,
Rapeman,
The Fugs,
Essential Logic,
Cal Tjader,
Jeru the Damaja,
Mary Jane Girls,
Scientists,
Camouflage,
Maurizio,
Index,
Drexciya,
New Order,
Talk Talk,
Symarip,
This Heat,
Marcia Griffiths,
DJ Sneak,
Minutemen,
Basic Channel,
Man Parrish,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Red Lorry Yellow Lorry,
The Alarm Clocks,
Sound Behaviour,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.