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 Ukraine and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Houston and Tokyo.
I'm losing my edge to the art-school London 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Black Bananas to the electroclash kids.
I played it at the Hacienda.
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 Can. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your organ and bought a theremin.
I hear that you and your band have sold your theremin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Sun Ra Arkestra,
The Associates,
Bizarre Inc.,
Monks,
Sunsets and Hearts,
Skarface,
The United States of America,
Au Pairs,
John Coltrane,
It's A Beautiful Day,
The Mummies,
Robert Görl,
Fugazi,
David Axelrod,
Roy Ayers Ubiquity,
Mandrill,
Warsaw,
The Mojo Men,
Deakin,
Pharaoh Sanders and the Fire Engines,
Marc Almond,
Skriet,
the Association,
Los Fastidios,
Deepchord,
The Motions,
Young Marble Giants,
The Offenders,
Grandmaster Flash,
The Shadows of Knight,
Joe Finger,
Minny Pops,
Newcleus,
cv313,
Urselle,
Cluster,
Marshall Jefferson,
John Cale,
Black Flag,
The Durutti Column,
Talk Talk,
Danielle Patucci,
The Toasters,
Max Romeo,
Big Daddy Kane,
Selector Dub Narcotic,
Loose Ends,
Sad Lovers and Giants,
Swell Maps,
Blancmange,
David Bowie,
Electric Prunes,
Moby Grape,
Chris & Cosey,
David McCallum,
F. McDonald,
June Days,
Excepter,
Section 25,
La Düsseldorf,
the Normal,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.