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 Marshall Islands and from Johannesburg.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Calgary.
I'm losing my edge to the art-school Winnipeg 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 Lewis practice in a loft in Vancouver.
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 Kenny Larkin to the techno 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 Max Romeo. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Public Enemy,
Louis and Bebe Barron,
Bootsy Collins,
Kool G Rap & DJ Polo,
Swans,
Au Pairs,
Justin Hinds & The Dominoes,
Oblivians,
Television,
Pole,
the Soft Cell,
Howard Jones,
Boogie Down Productions,
Groovy Waters,
Angry Samoans,
Clear Light,
Magma,
Notorious Big And Bone Thugs,
Prince Buster,
The Electric Prunes,
Derrick Morgan,
Lafayette Afro Rock Band,
Lou Reed & John Cale,
Eurythmics,
Sister Nancy,
Camberwell Now,
Marc Almond,
Ralphi Rosario,
Röyhkä ja Rättö ja Lehtisalo,
Underground Resistance,
The Royal Family And The Poor,
Ludus,
Cecil Taylor,
Colin Newman,
the Slits,
Kerri Chandler,
Alison Limerick,
Notorious BIG live in Amsterdam,
The Golliwogs,
Skriet,
Moebius,
Blake Baxter,
8 Eyed Spy,
Nas,
Black Bananas,
Zapp,
Gil Scott-Heron and Jamie xx,
Desert Stars,
Section 25,
The Star Department,
KRS-One,
Joey Negro,
Matthew Halsall,
Hashim,
Bill Wells,
Mary Jane Girls,
Amon Düül II,
Danielle Patucci,
Ultimate Spinach,
Robert Wyatt,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.