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 Kuwait and from Madrid.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Lyon 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 güiro 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 James Chance & The Contortions to the electroclash kids.
I played it at the Hacienda.
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 E-Dancer. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Sam Rivers 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Raincoats record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Accadde A,
Bang On A Can,
the Germs,
Boredoms,
Eric B and Rakim,
Soft Machine,
Sight & Sound,
The Raincoats,
Nico,
Kaleidoscope,
Lebanon Hanover,
In Retrospect,
The Martian,
Matthew Bourne,
Cameo,
Eric Copeland,
Mark Hollis,
Marine Girls,
Nik Kershaw,
Sun Ra,
T. Rex,
Blossom Toes,
Terry Callier,
Bobbi Humphrey,
Pantaleimon,
Ice-T,
Bob Dylan,
Public Image Ltd.,
DNA,
The Sound,
Colin Newman,
Eli Mardock,
Amazonics,
Gang Gang Dance,
Young Marble Giants,
Main Source,
The American Breed,
Monks,
It's A Beautiful Day,
Depeche Mode,
Avey Tare's Slasher Flicks,
Sound Behaviour,
Suicide,
Fela Kuti,
Andrew Ashong & Theo Parrish,
The Saints,
Fugazi,
Rekid,
Bobby Womack,
Underground Resistance,
Yazoo,
Ituana,
The Busters,
London Community Gospel Choir,
Derrick May,
Neu!,
Gang of Four,
Gastr Del Sol,
EPMD,
Oppenheimer Analysis,
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.