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 Morocco and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Jakarta 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 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 Country Teasers to the techno kids.
I played it at Cafe Wha.
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 Jimmy McGriff. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Warren Ellis,
Mars,
Chrome,
Nick Fraelich,
Ice-T,
Audionom,
Pole,
Jeff Lynne,
Erykah Badu,
Roxette,
Aaron Thompson,
Eddi Front,
The Seeds,
Major Organ And The Adding Machine,
Dark Day,
James White and The Blacks,
The Move,
Crime,
Funky Four + One,
Harpers Bizarre,
Shoche,
Bill Wells,
Aswad,
The Cosmic Jokers,
The Moody Blues,
U.S. Maple,
Connie Case,
Wasted Youth,
Smog,
Jimmy McGriff,
The Sound,
Groovy Waters,
Liliput,
Desert Stars,
The Mummies,
Rod Modell,
Dawn Penn,
Roy Ayers Ubiquity,
Ossler,
Sugar Minott,
Depeche Mode,
Kas Product,
Soulsonic Force,
Al Stewart,
Tears for Fears,
Dr. Dre and Snoop Doggy Dog,
Youth Brigade,
Amon Düül,
The Trojans,
Public Enemy,
Fear,
Michelle Simonal,
Johnny Clarke,
Amon Düül II,
Erasure,
The Last Poets,
The Shadows of Knight,
the Soft Cell,
Vladislav Delay,
The Leaves,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.