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 Spain and from Jakarta.
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 1964 to 1970.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Matthew Halsall to the grime kids.
I played it at the Crocodile.
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 Ronan. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Moss Icon,
Brothers Johnson,
Thompson Twins,
Barclay James Harvest,
John Coltrane,
Don Cherry,
Jandek,
Nils Olav,
The Count Five,
Saccharine Trust,
Grandmaster Flash and the Furious Five,
Vainqueur,
Peter Gordon & Love of Life Orchestra,
Lalo Schifrin,
Gastr Del Sol,
Black Pus,
Chrome,
Ultravox,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Prince Buster,
John Holt,
Sister Nancy,
Spandau Ballet,
Marvin Gaye,
the Soft Cell,
Glambeats Corp.,
Rosa Yemen,
Sun Ra,
Section 25,
The Evens,
The Detroit Cobras,
Lonnie Liston Smith,
The Fall,
Curtis Mayfield,
Pulsallama,
Country Teasers,
Terry Callier,
Con Funk Shun,
Albert Ayler,
Eden Ahbez,
Qualms,
The Associates,
David Axelrod,
Tom Boy,
Pantytec,
Rhythim Is Rhythim,
The Vogues,
Aswad,
Andrew Hill,
Khruangbin,
the Association,
Zapp,
Faust,
Jerry Gold Smith,
Girls At Our Best!,
Slave,
Eyeless In Gaza,
Reuben Wilson,
The Doors,
PIL, PIL, PIL, PIL.
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.