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 Jamaica and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Halifax and Bremen.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Chic practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Gian Franco Pienzio 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 Altered Images. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Spoonie Gee 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Absolute Body Control,
Camberwell Now,
Dave Gahan,
Funkadelic,
Sly & The Family Stone,
Byron Stingily,
Bauhaus,
48th St. Collective,
Japan,
The Tremeloes,
David Bowie,
Laurel Aitken,
Mandrill,
The Velvet Underground,
the Slits,
Gastr Del Sol,
Angry Samoans,
The Moleskins,
Thee Headcoats,
Junior Murvin,
Metal Thangz,
Saccharine Trust,
The Associates,
Thinking Fellers Union Local 282,
Rites of Spring,
Ludus,
The Monks,
Ornette Coleman,
Bobby Sherman,
Jacques Brel,
Deepchord,
The Zeros,
Magma,
Leonard Cohen,
Derrick May,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
DeepChord presents Echospace,
Drexciya,
Colin Newman,
The Angels of Light,
Country Joe & The Fish,
Traffic Nightmare,
Roxette,
Los Fastidios,
Art Ensemble Of Chicago,
Chris Corsano,
The Dave Clark Five,
Pantaleimon,
Hot Snakes,
Captain Beefheart & His Magic Band,
The Happenings,
Rowland S Howard / Lydia Lunch,
Ronnie Foster,
Lakeside,
Glambeats Corp.,
The Dirtbombs,
Black Sheep,
Hashim,
The Electric Prunes,
Tubeway Army,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.