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 Peru and from Houston.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 Mistral practice in a loft in Amsterdam.
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 Hot Snakes to the techno kids.
I played it at the 40 Watt.
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 Ohio Players. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Angry Samoans 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 '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Jimmy McGriff,
Josef K,
Michelle Simonal,
Kauko Röyhkä ja Narttu,
The Mighty Diamonds,
Brand Nubian,
Flamin' Groovies,
Art Ensemble Of Chicago,
F. McDonald,
Bill Wells,
Minor Threat,
Drive Like Jehu,
Faraquet,
Franke,
Nick Cave & The Bad Seeds,
Yazoo,
Pere Ubu,
Mantronix,
Boredoms,
L. Decosne,
Electric Light Orchestra,
X-101,
Bill Near,
Toni Rubio,
Bob Dylan,
Freddie Wadling,
Organ,
Gong,
Morten Harket,
Inner City,
Fugazi,
Crime,
B.T. Express,
Aaron Thompson,
Buzzcocks,
Ken Boothe,
Sugar Minott,
Jandek,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bootsy Collins,
Amazonics,
Richard Hell and the Voidoids,
the Swans,
Interpol,
The Pretty Things,
Eric Dolphy,
Rowland S Howard / Lydia Lunch,
Swans,
Spandau Ballet,
Kool Moe Dee,
Louis and Bebe Barron,
Sexual Harrassment,
Derrick May,
Slick Rick,
Harpers Bizarre,
Joensuu 1685,
Masters at Work,
Brass Construction,
Roxette, Roxette, Roxette, Roxette.
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.