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 Malawi and from Tokyo.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Accra and Edmonton.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Tres Demented to the techno kids.
I played it at the Roxy.
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 Los Fastidios. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Icehouse,
E-Dancer,
Los Fastidios,
Stereo Dub,
The Neon Judgement,
Lou Reed & John Cale,
Sound Behaviour,
Jerry's Kids,
Super Lover Cee & Casanova Rud,
The Saints,
U.S. Maple,
James White and The Blacks,
Second Layer,
Easy Going,
Ohio Players,
Bootsy Collins,
One Last Wish,
JFA,
Youth Brigade,
Grandmaster Flash,
Chrome,
Terrestrial Tones,
Quando Quango,
Hot Snakes,
Derrick Morgan,
Tim Buckley,
Radiohead,
Juan Atkins,
Avey Tare's Slasher Flicks,
Man Parrish,
Strawberry Alarm Clock,
Dennis Brown,
Ten City,
DeepChord presents Echospace,
Jacques Brel,
Model 500,
Supertramp,
Bobbi Humphrey,
Zapp,
The New Christs,
The Sonics,
Surgeon,
Technova,
The Motions,
The Red Krayola,
Marcia Griffiths,
Arthur Verocai,
Minny Pops,
Bobby Womack,
Isaac Hayes,
Black Sheep,
8 Eyed Spy,
World's Most,
Mad Mike,
Urselle,
ABBA,
Ossler, Ossler, Ossler, Ossler.
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.