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 Korea North and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1977.
I'm losing my edge.
To all the kids in Bremen and Toronto.
I'm losing my edge to the art-school Hong Kong 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 clarinet 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 Chris & Cosey to the techno kids.
I played it at the 40 Watt.
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 Arthur Verocai. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Whodini 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Warsaw,
Sexual Harrassment,
Scott Walker + Sunn O))),
Donald Byrd,
The Standells,
The Music Machine,
10cc,
Pharoah Sanders,
Country Joe & The Fish,
AZ,
Kenny Larkin,
Susan Cadogan,
Kings Of Tomorrow,
A Flock of Seagulls,
Nils Olav,
Roy Ayers,
Moby Grape,
Eric Copeland,
DJ Sneak,
Goldenarms,
Los Fastidios,
The Neon Judgement,
Yusef Lateef,
X-Ray Spex,
Danielle Patucci,
The Alarm Clocks,
Unwound,
Avey Tare,
Kerri Chandler,
Orchestral Manoeuvres in the Dark,
Intrusion,
Cybotron,
Masters at Work,
Lower 48,
OOIOO,
Q65,
Thompson Twins,
Procol Harum,
Rowland S Howard / Lydia Lunch,
The Detroit Cobras,
Joy Division,
Todd Terry,
Silicon Teens,
Joensuu 1685,
David McCallum,
PIL,
Lakeside,
Henry Cow,
Cymande,
Grey Daturas,
Banda Bassotti,
Justin Hinds & The Dominoes,
Sunsets and Hearts,
Black Sheep,
Bauhaus,
Niagra,
Neu!,
Joe Smooth,
Black Bananas,
London Community Gospel Choir,
Von Mondo,
Make Up,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.