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 Turkmenistan and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Stockholm.
I'm losing my edge to the art-school Bremen 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 Zapp practice in a loft in Hamilton.
I was working on the organ 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 Jeff Mills to the techno kids.
I played it at the Spitz.
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 Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Pharoah Sanders,
Sällskapet,
Man Parrish,
the Human League,
Sexual Harrassment,
Agent Orange,
Hot Snakes,
Ultimate Spinach,
Minnie Riperton,
Terrestrial Tones,
Bobbi Humphrey,
Fort Wilson Riot,
Kerrie Biddell,
DJ Style,
John Holt,
Spoonie Gee,
Public Image Ltd.,
The Toasters,
The Detroit Cobras,
The Names,
Au Pairs,
Sonny Sharrock,
Flash Fearless,
Trumans Water,
Wighnomy Brothers & Robag Wruhme,
Bob Dylan,
Ultramagnetic MC's,
The Index,
Young Marble Giants,
Scion,
Heaven 17,
Mandrill,
Flipper,
Radiohead,
Sex Pistols,
Althea and Donna,
Tom Boy,
Max Romeo,
Aloha Tigers,
Schoolly D,
A Certain Ratio,
Nick Cave & The Bad Seeds,
Röyhkä ja Rättö ja Lehtisalo,
Eve St. Jones,
Chrome,
Marine Girls,
These Immortal Souls,
The Barracudas,
Pet Shop Boys,
Barclay James Harvest,
The Stooges,
Rotary Connection,
MDC,
Yaz,
Deepchord,
Kevin Saunderson,
Funkadelic,
the Association,
Deakin, Deakin, Deakin, Deakin.
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.