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 Seychelles and from Bremen.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Portland 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 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 Camron Feat. Memphis Bleek And Beenie Seigel to the crunk kids.
I played it at the Astoria.
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 Symarip. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Loose Ends,
The Searchers,
Fela Kuti,
Slick Rick,
Radiopuhelimet,
Sugar Minott,
Magazine,
The Pop Group,
Ice-T,
Spandau Ballet,
Traffic Nightmare,
The Last Poets,
Michelle Simonal,
Intrusion,
Pole,
Joe Smooth,
Throbbing Gristle,
Pharoah Sanders,
The Residents,
The Five Americans,
Girls At Our Best!,
Rekid,
Alison Limerick,
The Jesus and Mary Chain,
The Divine Comedy,
Shuggie Otis,
Sarah Menescal,
Ken Boothe,
Maurizio,
Rosa Yemen,
Henry Cow,
This Heat,
Andrew Ashong & Theo Parrish,
The Cure,
Orchestral Manoeuvres in the Dark,
Blake Baxter,
James Chance & The Contortions,
Duran Duran,
Blancmange,
Kas Product,
The Pretty Things,
Theoretical Girls,
Wasted Youth,
Judy Mowatt,
X-Ray Spex,
The Music Machine,
Kango’s Stein Massive,
The Knickerbockers,
Freddie Wadling,
Altered Images,
Franke,
Eyeless In Gaza,
Jesper Dahlbäck,
Porter Ricks,
Avey Tare's Slasher Flicks,
Arthur Verocai,
Grey Daturas,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.