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 Kazakhstan and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Lyon 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 spring reverb 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 Deadbeat to the grunge kids.
I played it at the Roxy.
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 Kauko Röyhkä ja Narttu. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Urselle,
Bobby Womack,
Cecil Taylor,
Drive Like Jehu,
Fatback Band,
Selector Dub Narcotic,
Notorious BIG live in Amsterdam,
Banda Bassotti,
CMW,
Motorama,
Stockholm Monsters,
Sunsets and Hearts,
JFA,
Index,
Inner City,
Icehouse,
Eddi Front,
It's A Beautiful Day,
Minny Pops,
Section 25,
Suburban Knight,
Robert Wyatt,
Harmonia,
Bobbi Humphrey,
Hot Snakes,
Lonnie Liston Smith,
Jeru the Damaja,
Zero Boys,
Maurizio,
Cymande,
Joe Smooth,
Q and Not U,
Liaisons Dangereuses,
The Remains,
Skriet,
Negative Approach,
The New Christs,
Stiv Bators,
Albert Ayler,
Bang On A Can,
The American Breed,
Vladislav Delay,
Avey Tare's Slasher Flicks,
Matthew Bourne,
Notorious Big And Bone Thugs,
Thompson Twins,
Young Marble Giants,
Stereo Dub,
Scan 7,
Buzzcocks,
Second Layer,
The Dead C,
Laurel Aitken,
Sound Behaviour,
T. Rex,
Deepchord,
Franke,
Letta Mbulu,
Chrome,
Ralphi Rosario,
Terry Callier,
Alton Ellis,
Pole,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.