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 Austria and from Columbus.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Monolake to the funk 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 Johnny Clarke. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Kaleidoscope 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Arab on Radar,
Oblivians,
Make Up,
Livin' Joy,
Fad Gadget,
Hot Snakes,
The Monks,
David McCallum,
The Wake,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
Sun Ra Arkestra,
Half Japanese,
Echospace,
The Knickerbockers,
Fluxion,
Danielle Patucci,
Aural Exciters,
Unwound,
The Motions,
Organ,
Lafayette Afro Rock Band,
Urselle,
Fear,
Groovy Waters,
F. McDonald,
Intrusion,
Ultravox,
Crispy Ambulance,
Eric Dolphy,
Grauzone,
Japan,
Electric Prunes,
Bill Wells,
Jacob Miller,
Sound Behaviour,
Gil Scott-Heron and Jamie xx,
Ice-T,
The Cowsills,
The Music Machine,
Eve St. Jones,
Tom Boy,
Model 500,
Sexual Harrassment,
B.T. Express,
Pere Ubu,
Erykah Badu,
Lalo Schifrin,
the Slits,
Young Marble Giants,
Kango’s Stein Massive,
Maleditus Sound,
The Slits,
Gang Gang Dance,
Yellowson,
Orchestral Manoeuvres in the Dark,
Masters at Work,
Public Image Ltd.,
Soft Cell,
Clear Light,
UT,
Prince Buster,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.