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 Burkina and from Manchester.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Lewis practice in a loft in Vancouver.
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 The Gap Band to the techno 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 New Age Steppers. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Jeff Lynne,
Selector Dub Narcotic,
New York Dolls,
Michelle Simonal,
Rosa Yemen,
X-Ray Spex,
Bill Wells,
UT,
The Pretty Things,
Animal Collective,
Super Lover Cee & Casanova Rud,
CMW,
It's A Beautiful Day,
the Soft Cell,
In Retrospect,
Cluster,
Amon Düül,
The Music Machine,
Jeff Mills,
Royal Trux,
Davy DMX,
Newcleus,
Amazonics,
Fort Wilson Riot,
The Fugs,
John Coltrane,
Art Ensemble Of Chicago,
Crooked Eye,
Bang on a Can All-Stars,
Arab on Radar,
Television Personalities,
Lizzy Mercier Descloux,
Fat Boys,
Bluetip,
The Peanut Butter Conspiracy,
Tim Buckley,
Bush Tetras,
The Red Krayola,
Franke,
Oblivians,
Pet Shop Boys,
Cabaret Voltaire,
These Immortal Souls,
Roger Hodgson,
MC5,
Symarip,
Soft Cell,
De La Soul & Jungle Brothers,
Nas,
Guru Guru,
Pantaleimon,
Joy Division,
Sparks,
Vladislav Delay,
Gabor Szabo,
Pole,
Ash Ra Tempel,
The Vogues,
Slick Rick,
Marcia Griffiths,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.