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 Comoros and from London.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Edmonton 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 Maleditus Sound to the rock 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 Schoolly D. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Fugs,
Lou Reed & Metallica,
Khruangbin,
Cecil Taylor,
Aural Exciters,
Aswad,
Slick Rick,
Nas,
Quando Quango,
Tropical Tobacco,
Alice Coltrane,
Spandau Ballet,
Mark Hollis,
Henry Cow,
Idris Muhammad,
Toni Rubio,
Ajijia Myrayebe,
Jesper Dahlbäck,
Röyhkä ja Rättö ja Lehtisalo,
Brass Construction,
Malaria!,
Brick,
Todd Terry,
Rapeman,
The Music Machine,
Colin Newman,
David McCallum,
Whodini,
Infiniti,
Siouxsie and the Banshees,
Television,
Nico,
Roy Ayers Ubiquity,
Radiopuhelimet,
K-Klass,
Rosa Yemen,
Harmonia,
Aaron Thompson,
Sly & The Family Stone,
Anthony Braxton,
Shoche,
The Martian,
Mandrill,
Dorothy Ashby,
Smog,
The Wake,
Rhythim Is Rhythim,
The Cure,
Archie Shepp,
Pierre Henry,
The Fall,
Bang on a Can All-Stars,
Erasure,
Neil Young & Crazy Horse,
Scientists,
The Victims,
John Coltrane,
Bill Near,
Eric B and Rakim,
The Remains,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.