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 Ghana and from Manchester.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Houston and Hong Kong.
I'm losing my edge to the art-school Glasgow 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 Chic practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Babytalk to the techno kids.
I played it at the Hacienda.
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 Brothers Johnson. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every The Sound 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Morten Harket,
Heavy D & The Boyz,
Albert Ayler,
Bootsy's Rubber Band,
Big Daddy Kane,
Kas Product,
Laurel Aitken,
Das Ding,
The American Breed,
Bang On A Can,
Black Pus,
Eddi Front,
Lou Reed,
Organ,
Bronski Beat,
Arthur Verocai,
Brass Construction,
Jesper Dahlback,
Jeru the Damaja,
The Blues Magoos,
Minnie Riperton,
Jawbox,
Cabaret Voltaire,
Alphaville,
Patti Smith,
Soft Cell,
Rotary Connection,
Marine Girls,
Deakin,
Nation of Ulysses,
Bobby Sherman,
the Bar-Kays,
Blancmange,
Jesper Dahlbäck,
Bad Manners,
The Moody Blues,
Marc Almond,
Subhumans,
Grauzone,
Donald Byrd,
Gregory Isaacs,
Sarah Menescal,
Traffic Nightmare,
Lee Hazlewood,
Roy Ayers Ubiquity,
Aswad,
Malaria!,
Cecil Taylor,
Banda Bassotti,
The Red Krayola,
Minny Pops,
Desert Stars,
John Foxx,
The Human League,
Quando Quango,
June Days,
Jerry Gold Smith,
Ohio Players,
Matthew Bourne,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ken Boothe,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.