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 Uganda and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Alton Ellis to the dance kids.
I played it at the Spitz.
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 Ituana. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
The Zeros,
Infiniti,
Altered Images,
The Gladiators,
Harpers Bizarre,
Sonny Sharrock,
Unrelated Segments,
Camberwell Now,
Make Up,
Larry & the Blue Notes,
The Fortunes,
Grandmaster Flash,
The Cramps,
Selector Dub Narcotic,
the Fania All-Stars,
The Birthday Party,
The Evens,
Liaisons Dangereuses,
The Gories,
a-ha,
The Standells,
Wally Richardson,
The Sisters of Mercy,
Jesper Dahlback,
Banda Bassotti,
Tubeway Army,
Ponytail,
Vainqueur,
Bobby Womack,
Royal Trux,
Hot Snakes,
The Invisible,
Barry Ungar,
Bobby Sherman,
Justin Hinds & The Dominoes,
Moss Icon,
Rhythim Is Rhythim,
The Busters,
Teenage Jesus and the Jerks,
The Doors,
Lakeside,
The New Christs,
Cabaret Voltaire,
Cymande,
Be Bop Deluxe,
Bill Near,
Ronan,
B.T. Express,
Big Daddy Kane,
Deutsch Amerikanische Freundschaft,
Arthur Verocai,
The Black Dice,
The Cosmic Jokers,
Gil Scott-Heron and Jamie xx,
The Slackers,
Brass Construction,
The Motions,
Eli Mardock,
The Tremeloes,
The Fuzztones,
Lebanon Hanover,
Blancmange, Blancmange, Blancmange, Blancmange.
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.