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 Slovenia and from Lille.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Copenhagen 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Colin Newman to the funk 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 James White and The Blacks. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every The Detroit Cobras 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 '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Yusef Lateef,
The Associates,
Pierre Henry,
Magma,
The Modern Lovers,
Todd Rundgren,
Johnny Osbourne,
Radiopuhelimet,
Aloha Tigers,
Jimmy McGriff,
Ornette Coleman,
Adolescents,
Ronan,
James Chance & The Contortions,
Camberwell Now,
Kauko Röyhkä ja Narttu,
Kaleidoscope,
Lower 48,
Fat Boys,
London Community Gospel Choir,
R.M.O.,
Brand Nubian,
Rhythim Is Rhythim,
The Techniques,
Royal Trux,
Bang On A Can,
Sixth Finger,
Roy Ayers,
Scott Walker,
Wighnomy Brothers & Robag Wruhme,
T. Rex,
L. Decosne,
Negative Approach,
Strawberry Alarm Clock,
Bobby Hutcherson,
Banda Bassotti,
Michelle Simonal,
Kas Product,
Young Marble Giants,
Slave,
Leonard Cohen,
Andrew Ashong & Theo Parrish,
Black Pus,
Traffic Nightmare,
Soft Cell,
Arthur Verocai,
Animal Collective,
Gil Scott-Heron and Jamie xx,
Masters at Work,
Wolf Eyes,
the Germs,
Deadbeat,
The Offenders,
Peter and Kerry,
The Alarm Clocks,
Das Ding,
Qualms,
Jeff Mills,
Harmonia,
Main Source,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.