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 Latvia and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school New York 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 Human League practice in a loft in Sheffield.
I was working on the sitar 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 Isaac Hayes to the grime 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 Zapp. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Lindisfarne 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
The Gladiators,
Joe Finger,
Spandau Ballet,
The Fire Engines,
Bootsy Collins,
Marshall Jefferson,
Girls At Our Best!,
Tomorrow,
Organ,
Aswad,
Mo-Dettes,
Black Bananas,
Notorious Big And Bone Thugs,
Fatback Band,
Jesper Dahlback,
The Smoke,
Lee Hazlewood,
Jacques Brel,
Charles Mingus,
Gichy Dan,
Au Pairs,
Lungfish,
Funkadelic,
Intrusion,
Lonnie Liston Smith,
The Golliwogs,
Ken Boothe,
Prince Buster,
The Peanut Butter Conspiracy,
Siglo XX,
The Birthday Party,
Sound Behaviour,
Mr. Review,
Qualms,
The Moody Blues,
Ponytail,
Kaleidoscope,
Red Lorry Yellow Lorry,
Bootsy's Rubber Band,
cv313,
Sonny Sharrock,
The Skatalites,
The Victims,
The Evens,
The Music Machine,
Glenn Branca,
La Düsseldorf,
Subhumans,
CMW,
Gong,
Curtis Mayfield,
Manfred Mann's Earth Band,
Con Funk Shun,
Moby Grape,
The Saints,
Stetsasonic,
Black Pus,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.