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 Sierra Leone and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Stockholm and Houston.
I'm losing my edge to the art-school Philadelphia 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 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 Joey Negro to the funk kids.
I played it at the Spitz.
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 Hasil Adkins. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case 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?
Urselle,
Liliput,
Jeff Lynne,
Todd Terry,
Roy Ayers,
Bill Wells,
Anthony Braxton,
The Grass Roots,
Adolescents,
The West Coast Pop Art Experimental Band,
Sugar Minott,
Aswad,
Notorious Big And Bone Thugs,
The Young Rascals,
Deutsch Amerikanische Freundschaft,
Nik Kershaw,
Sandy B,
Sad Lovers and Giants,
Peter Gordon & Love of Life Orchestra,
Electric Light Orchestra,
The Cure,
The Raincoats,
Rufus Thomas,
Big Daddy Kane,
Gregory Isaacs,
X-Ray Spex,
Yaz,
Steve Hackett,
Eli Mardock,
Stereo Dub,
Connie Case,
Angry Samoans,
Vainqueur,
EPMD,
Ultimate Spinach,
Depeche Mode,
Mary Jane Girls,
Warren Ellis,
Slave,
The Star Department,
Gabor Szabo,
Sonny Sharrock,
The Move,
Eric Copeland,
Sticky Fingaz feat. Raekwon,
Boz Scaggs,
Idris Muhammad,
Underground Resistance,
The Music Machine,
Los Fastidios,
Avey Tare's Slasher Flicks,
the Germs,
The Happenings,
K-Klass,
Jimmy McGriff,
The Residents,
Young Marble Giants,
In Retrospect,
Camberwell Now,
Kango’s Stein Massive,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.