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 Sudan and from Mexico City.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Woodstock 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Rod Modell 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 Suburban Knight. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Gregory Isaacs 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 '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
The Five Americans,
Henry Cow,
Crime,
Johnny Clarke,
Derrick May,
Yaz,
Sarah Menescal,
a-ha,
KRS-One,
The Durutti Column,
The Residents,
Crooked Eye,
the Association,
Nick Fraelich,
Terrestrial Tones,
Gary Puckett & The Union Gap,
The Mojo Men,
The Music Machine,
Barry Ungar,
The Dave Clark Five,
Bootsy's Rubber Band,
Black Bananas,
The Gories,
Nik Kershaw,
The Fuzztones,
Tubeway Army,
Essential Logic,
Kings Of Tomorrow,
Zapp,
Electric Light Orchestra,
Buzzcocks,
World's Most,
Ronnie Foster,
Sixth Finger,
Sparks,
Siglo XX,
Suburban Knight,
Pharoah Sanders,
Fugazi,
Q65,
Art Ensemble Of Chicago,
Magazine,
Amazonics,
Organ,
Con Funk Shun,
The Star Department,
The West Coast Pop Art Experimental Band,
T. Rex,
The Gladiators,
Zero Boys,
Ultimate Spinach,
Yusef Lateef,
Piero Umiliani,
June of 44,
Tropical Tobacco,
This Heat,
Gil Scott-Heron & Brian Jackson,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.