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 Egypt and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Mumbai 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 synthesizer 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 Avey Tare to the funk 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 La Düsseldorf. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Kings Of Tomorrow,
Monolake,
Joe Finger,
Grauzone,
Roy Ayers,
Peter & Gordon,
The Modern Lovers,
Johnny Clarke,
Sugar Minott,
10cc,
B.T. Express,
The Litter,
Camberwell Now,
Adolescents,
Surgeon,
Boogie Down Productions,
Intrusion,
The Toasters,
Y Pants,
Gichy Dan,
The Sisters of Mercy,
Susan Cadogan,
Bill Wells,
Bobby Sherman,
Joensuu 1685,
The Neon Judgement,
Blake Baxter,
Mark Hollis,
Sparks,
Sixth Finger,
Lungfish,
Kool G Rap & DJ Polo,
Con Funk Shun,
Cluster,
Nick Cave & The Bad Seeds,
Sex Pistols,
The Star Department,
The Music Machine,
Gang Gang Dance,
Chris & Cosey,
JFA,
Skaos,
Khruangbin,
New Age Steppers,
Kerri Chandler,
Colin Newman,
Barbara Tucker,
Donald Byrd,
Angels of Light & Akron/Family,
Toni Rubio,
The Selecter,
EPMD,
Underground Resistance,
John Cale,
Soft Machine,
Audionom,
Quadrant,
Fad Gadget,
Scratch Acid,
Motorama,
The Vogues,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.