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 South Sudan and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Manila and Edmonton.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 China Crisis to the dance kids.
I played it at the 40 Watt.
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 Glambeats Corp.. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Accadde A 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Todd Terry,
Slick Rick,
Davy DMX,
New York Dolls,
Blossom Toes,
Bronski Beat,
Dennis Brown,
Blake Baxter,
Godley & Creme,
Johnny Clarke,
Gregory Isaacs,
The Move,
Lebanon Hanover,
B.T. Express,
Crime,
Hardrive,
Mandrill,
AZ,
Q and Not U,
Scratch Acid,
Chris & Cosey,
Black Bananas,
Donny Hathaway,
The Selecter,
The Flesh Eaters,
Alison Limerick,
Bang On A Can,
Half Japanese,
The Doobie Brothers,
David Axelrod,
The Dave Clark Five,
Michelle Simonal,
Peter & Gordon,
Letta Mbulu,
Kool Moe Dee,
Pussy Galore,
Sam Rivers,
Ultramagnetic MC's,
The Royal Family And The Poor,
Matthew Halsall,
Rowland S Howard / Lydia Lunch,
Siouxsie and the Banshees,
The Moody Blues,
Sugar Minott,
Camberwell Now,
Lyres,
Sound Behaviour,
Das Ding,
Yellowson,
Flamin' Groovies,
Quantec,
Notorious Big And Bone Thugs,
Magazine,
Major Organ And The Adding Machine,
Minutemen,
Man Parrish,
Gastr Del Sol,
The Saints,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.