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 Swaziland and from Salvador.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 James Chance & The Contortions 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 Liaisons Dangereuses. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
The Cosmic Jokers,
The Vogues,
Derrick Morgan,
Alison Limerick,
Morten Harket,
The Gladiators,
Harpers Bizarre,
Strawberry Alarm Clock,
Sam Rivers,
Intrusion,
This Heat,
Agitation Free,
Mars,
The Black Dice,
Marshall Jefferson,
Scion,
Joe Finger,
Tim Buckley,
Warren Ellis,
Outsiders,
Deadbeat,
Babytalk,
Kayak,
Aloha Tigers,
Kerri Chandler,
The Techniques,
Fat Boys,
Larry & the Blue Notes,
The Victims,
Half Japanese,
Tropical Tobacco,
F. McDonald,
Gong,
Stiv Bators,
X-102,
Arthur Verocai,
Popol Vuh,
Eli Mardock,
Junior Murvin,
Lizzy Mercier Descloux,
Oppenheimer Analysis,
Joensuu 1685,
Shoche,
Fatback Band,
DJ Style,
Quando Quango,
the Soft Cell,
Los Fastidios,
The Flesh Eaters,
New Order,
Howard Jones,
Minutemen,
Section 25,
The Grass Roots,
Yusef Lateef,
Liaisons Dangereuses,
the Fania All-Stars,
Wire,
Graham Central Station,
Amon Düül II,
Ten City,
Gil Scott Heron,
Delta 5, Delta 5, Delta 5, Delta 5.
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.