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 Haiti and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia practice in a loft in London.
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 Jawbox to the funk 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 Sonny Sharrock. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
The Stooges,
Cabaret Voltaire,
Urselle,
Saccharine Trust,
The Chocolate Watch Band,
The Divine Comedy,
Essential Logic,
Kerri Chandler,
Fat Boys,
Pharaoh Sanders and the Fire Engines,
Aaron Thompson,
These Immortal Souls,
Pagans,
Spandau Ballet,
the Bar-Kays,
a-ha,
Beasts of Bourbon,
Visage,
Gang Starr,
Soft Machine,
The Neon Judgement,
Mo-Dettes,
Altered Images,
R.M.O.,
Index,
Newcleus,
Terry Callier,
Basic Channel,
James White and The Blacks,
Public Image Ltd.,
Deutsch Amerikanische Freundschaft,
Larry & the Blue Notes,
Talk Talk,
Yaz,
EPMD,
Bauhaus,
T. Rex,
Max Romeo,
The Trojans,
Country Teasers,
Sly & The Family Stone,
Cybotron,
Sarah Menescal,
Gian Franco Pienzio,
Patti Smith,
PIL,
Drive Like Jehu,
Tears for Fears,
Harry Pussy,
Panda Bear,
Brand Nubian,
Dead Boys,
Rotary Connection,
The Count Five,
Sixth Finger,
48th St. Collective,
Parry Music,
Television,
Livin' Joy,
Rahsaan Roland Kirk,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.