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 Estonia and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Cairo 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 Pantaleimon to the punk kids.
I played it at Cafe Wha.
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 Chris & Cosey. All the underground hits.
All Magma tracks. I heard you have a vinyl of every John Coltrane 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Ornette Coleman,
Scion,
Rufus Thomas,
Zero Boys,
Kayak,
The Dead C,
Donny Hathaway,
Harry Pussy,
Howard Jones,
Ohio Players,
Gil Scott Heron,
the Sonics,
Cybotron,
Ralphi Rosario,
Section 25,
Con Funk Shun,
A Flock of Seagulls,
Pierre Henry,
Lebanon Hanover,
Sandy B,
Ronan,
Kas Product,
Lucky Dragons,
Adolescents,
Kerrie Biddell,
Average White Band,
Deutsch Amerikanische Freundschaft,
The Dave Clark Five,
Fugazi,
Rapeman,
Rod Modell,
Kool Moe Dee,
Pete Rock & C.L. Smooth,
The Monochrome Set,
Banda Bassotti,
Pere Ubu,
Roy Ayers Ubiquity,
Echo & the Bunnymen,
Yellowson,
Anthony Braxton,
Loose Ends,
Major Organ And The Adding Machine,
Livin' Joy,
Yazoo,
A Certain Ratio,
Faust,
Bill Near,
Silicon Teens,
Essential Logic,
Alison Limerick,
The Gap Band,
The American Breed,
Lou Reed & John Cale,
The Detroit Cobras,
Andrew Ashong & Theo Parrish,
Masters at Work,
Jawbox,
John Lydon,
Gang Gang Dance,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.