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 Palau and from Beijing.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Madrid.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 Von Mondo to the electroclash kids.
I played it at the Roxy.
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 Gary Puckett & The Union Gap. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Robert Hood,
Camberwell Now,
The Offenders,
Tropical Tobacco,
Dennis Brown,
Scan 7,
In Retrospect,
Adolescents,
The Angels of Light,
Darondo,
Drexciya,
Oppenheimer Analysis,
Radio Birdman,
The Fuzztones,
Brick,
Simply Red,
Erykah Badu,
Letta Mbulu,
Television,
Yusef Lateef,
Sandy B,
Ultimate Spinach,
Jimmy McGriff,
Buzzcocks,
Rhythm & Sound,
The Gories,
Brass Construction,
New York Dolls,
Matthew Halsall,
Kevin Saunderson,
H. Thieme,
Make Up,
Cabaret Voltaire,
Icehouse,
Avey Tare & Kría Brekkan,
The Alarm Clocks,
Unrelated Segments,
Tim Buckley,
Moby Grape,
The Skatalites,
Magma,
Gabor Szabo,
Wasted Youth,
Electric Prunes,
The Mighty Diamonds,
Wally Richardson,
The Gun Club,
Big Daddy Kane,
Audionom,
Soul Sonic Force,
Deakin,
Godley & Creme,
Ultra Naté,
Bobby Sherman,
Sugar Minott,
Stereo Dub,
A Flock of Seagulls,
Panda Bear,
Rotary Connection,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.