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 Liechtenstein 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 1977.
I'm losing my edge.
To all the kids in Spokane and Shanghai.
I'm losing my edge to the art-school Milan 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Dave Gahan to the disco kids.
I played it at Trash.
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 Kaleidoscope. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
The American Breed,
Lyres,
Average White Band,
Aswad,
Dr. Dre and Snoop Doggy Dog,
Isaac Hayes,
Lindisfarne,
Dorothy Ashby,
The Blackbyrds,
OOIOO,
Slave,
Joe Smooth,
Heavy D & The Boyz,
Johnny Clarke,
Lalo Schifrin,
Peter Gordon & Love of Life Orchestra,
Roy Ayers Ubiquity,
Oppenheimer Analysis,
The Knickerbockers,
John Holt,
World's Most,
Alice Coltrane,
The Victims,
The West Coast Pop Art Experimental Band,
Von Mondo,
Sandy B,
The Sonics,
Lou Christie,
Marc Romboy vs. Booka Shade,
Crooked Eye,
Todd Rundgren,
Traffic Nightmare,
Leonard Cohen,
Funkadelic,
the Swans,
The Sound,
Strawberry Alarm Clock,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Bar-Kays,
Ten City,
Bobby Hutcherson,
Beasts of Bourbon,
Hoover,
Amazonics,
The Black Dice,
Archie Shepp,
This Heat,
Smog,
EPMD,
Oblivians,
Kool G Rap & DJ Polo,
Scion,
Danielle Patucci,
Jeru the Damaja,
Cluster,
Gil Scott Heron,
Michelle Simonal,
Sex Pistols,
Byron Stingily,
CMW,
Kerrie Biddell,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.