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 Turkmenistan and from Lille.
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 1976.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Columbus 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 harpsichord 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 Scratch Acid to the crunk 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 Pierre Henry. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal funk 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 a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Kool G Rap & DJ Polo,
Red Lorry Yellow Lorry,
The Tremeloes,
The Real Kids,
Wally Richardson,
London Community Gospel Choir,
The Gun Club,
Peter & Gordon,
Organ,
Janne Schatter,
Royal Trux,
Delta 5,
John Coltrane,
It's A Beautiful Day,
The Associates,
Althea and Donna,
Gang of Four,
The Mummies,
Beasts of Bourbon,
Youth Brigade,
Brothers Johnson,
Henry Cow,
Shoche,
L. Decosne,
Heavy D & The Boyz,
Sound Behaviour,
Lizzy Mercier Descloux,
Siglo XX,
Fifty Foot Hose,
The Jesus and Mary Chain,
Stereo Dub,
Eurythmics,
Spoonie Gee,
The New Christs,
Andrew Hill,
The Velvet Underground,
Super Lover Cee & Casanova Rud,
Lafayette Afro Rock Band,
Underground Resistance,
Average White Band,
The Shadows of Knight,
Chris Corsano,
Carl Craig,
Thompson Twins,
A Certain Ratio,
Richard Hell and the Voidoids,
Radiopuhelimet,
Scott Walker + Sunn O))),
Hot Snakes,
Gil Scott-Heron & Brian Jackson,
Strawberry Alarm Clock,
Gong,
Kerri Chandler,
Gichy Dan,
Sixth Finger,
Don Cherry,
Letta Mbulu,
John Holt,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.