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 East Timor and from Portland.
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 1962 to 1975.
I'm losing my edge.
To all the kids in London and Beijing.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Black Moon to the rap kids.
I played it at Trash.
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 Roxy Music. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every The Remains 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Quando Quango,
Terrestrial Tones,
A Certain Ratio,
Bronski Beat,
Albert Ayler,
Wolf Eyes,
Theoretical Girls,
The Durutti Column,
Mars,
Wings,
Echospace,
Supertramp,
Ituana,
CMW,
the Soft Cell,
Grandmaster Flash,
The Real Kids,
Flash Fearless,
The Last Poets,
Wally Richardson,
The Five Americans,
Lungfish,
Kenny Larkin,
Lafayette Afro Rock Band,
Desert Stars,
Negative Approach,
John Holt,
Frankie Knuckles,
Shoche,
Ornette Coleman,
X-101,
Fad Gadget,
Young Marble Giants,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kevin Saunderson,
The Royal Family And The Poor,
Gary Puckett & The Union Gap,
Liaisons Dangereuses,
Spandau Ballet,
Sandy B,
Sound Behaviour,
Sixth Finger,
The Selecter,
Rahsaan Roland Kirk,
Qualms,
Dorothy Ashby,
Average White Band,
Henry Cow,
Livin' Joy,
Alice Coltrane,
Soul Sonic Force,
The Black Dice,
Rapeman,
Monks,
The Count Five,
Piero Umiliani,
Chris Corsano,
Notorious Big And Bone Thugs,
Traffic Nightmare,
Audionom,
The Fortunes,
Japan,
Cymande, Cymande, Cymande, Cymande.
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.