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 Austria and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Houston 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Kango’s Stein Massive to the rock 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 The Star Department. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Joyce Sims,
Livin' Joy,
A Certain Ratio,
Camberwell Now,
The Neon Judgement,
Faust,
Nick Cave & The Bad Seeds,
June Days,
DeepChord presents Echospace,
London Community Gospel Choir,
Malaria!,
Scion,
The Happenings,
Babytalk,
Circle Jerks,
Howard Jones,
Arab on Radar,
Gong,
Bootsy Collins,
Guru Guru,
Justin Hinds & The Dominoes,
Yusef Lateef,
Outsiders,
De La Soul & Jungle Brothers,
Public Enemy,
Leonard Cohen,
T.S.O.L.,
Shuggie Otis,
Simply Red,
Sun Ra Arkestra,
Sarah Menescal,
Bobbi Humphrey,
Rites of Spring,
Faraquet,
Soft Cell,
Art Ensemble Of Chicago,
Frankie Knuckles,
Public Image Ltd.,
Dennis Brown,
The Peanut Butter Conspiracy,
The Move,
Morten Harket,
Alton Ellis,
Bad Manners,
Gian Franco Pienzio,
Royal Trux,
The Music Machine,
Johnny Clarke,
Excepter,
A Flock of Seagulls,
D'Angelo,
Tomorrow,
Fat Boys,
Amon Düül,
The Selecter,
Sight & Sound,
Harpers Bizarre,
Joe Smooth,
Country Teasers,
Beasts of Bourbon,
The Slackers, The Slackers, The Slackers, The Slackers.
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.