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 Serbia and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Tehran and Tehran.
I'm losing my edge to the art-school Mumbai 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 808 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 Los Fastidios to the funk kids.
I played it at the Troubador.
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 Judy Mowatt. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
The Gories,
Amon Düül,
Jeff Lynne,
Black Moon,
Ultramagnetic MC's,
Mandrill,
Marc Romboy vs. Booka Shade,
The Skatalites,
Tomorrow,
Eli Mardock,
E-Dancer,
Model 500,
The Real Kids,
Sonic Youth,
Oneida,
Kings Of Tomorrow,
the Bar-Kays,
B.T. Express,
The Gun Club,
The United States of America,
Gregory Isaacs,
Matthew Halsall,
The J.B.'s,
Strawberry Alarm Clock,
The Grass Roots,
The Slits,
The Offenders,
Be Bop Deluxe,
Fela Kuti,
The Mummies,
David McCallum,
Letta Mbulu,
Major Organ And The Adding Machine,
the Normal,
Louis and Bebe Barron,
Nation of Ulysses,
Graham Central Station,
Dave Gahan,
Drive Like Jehu,
Technova,
Soul Sonic Force,
Gian Franco Pienzio,
Mo-Dettes,
Bobby Hutcherson,
Richard Hell and the Voidoids,
Flash Fearless,
A Certain Ratio,
Matthew Bourne,
Clear Light,
The Detroit Cobras,
The Remains,
Monolake,
Country Joe & The Fish,
the Human League,
the Germs,
The Martian,
Cecil Taylor,
Stetsasonic,
Ice-T,
Selector Dub Narcotic,
Avey Tare & Kría Brekkan,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.