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 Netherlands and from Manila.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Stockholm 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 808 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 Matthew Halsall to the disco kids.
I played it at the Astoria.
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 Bobby Sherman. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
De La Soul & Jungle Brothers,
Rahsaan Roland Kirk,
Half Japanese,
Mandrill,
Rod Modell,
Newcleus,
Nik Kershaw,
Fugazi,
Hot Snakes,
The Men They Couldn't Hang,
Oblivians,
Oneida,
Wasted Youth,
Camron Feat. Memphis Bleek And Beenie Seigel,
E-Dancer,
Can,
Terror Squad Feat. Camron,
Wire,
The New Christs,
Smog,
Reuben Wilson,
Neil Young,
Sister Nancy,
Eurythmics,
David Bowie,
The Fugs,
Lakeside,
Dennis Brown,
James Chance & The Contortions,
Swans,
Angels of Light & Akron/Family,
Cabaret Voltaire,
Sound Behaviour,
Eden Ahbez,
Black Sheep,
Mo-Dettes,
Fatback Band,
Andrew Hill,
The Trojans,
Gabor Szabo,
Röyhkä ja Rättö ja Lehtisalo,
Major Organ And The Adding Machine,
James White and The Blacks,
Surgeon,
The Invisible,
Gil Scott Heron,
Lindisfarne,
Pharoah Sanders,
Nation of Ulysses,
L. Decosne,
Gerry Rafferty,
Grey Daturas,
Organ,
Notorious Big And Bone Thugs,
Warsaw,
Morten Harket,
Harry Pussy,
Nick Fraelich,
Pulsallama,
Parry Music,
Brick, Brick, Brick, Brick.
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.