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 Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lille and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Mo-Dettes to the jazz kids.
I played it at the Troubador.
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 Ludus. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
The Five Americans,
Erasure,
D'Angelo,
Ronnie Foster,
Bang on a Can All-Stars,
The Selecter,
Lalo Schifrin,
Zero Boys,
Depeche Mode,
Roxette,
Eyeless In Gaza,
Eve St. Jones,
Y Pants,
Sällskapet,
Jawbox,
the Sonics,
Eric B and Rakim,
Roy Ayers,
Rapeman,
FM Einheit,
Gerry Rafferty,
Albert Ayler,
Alice Coltrane,
The Angels of Light,
Reuben Wilson,
Bobby Byrd,
The Toasters,
the Bar-Kays,
Das Ding,
Barbara Tucker,
The Remains,
Wolf Eyes,
Interpol,
Brass Construction,
Bad Manners,
Terry Callier,
Kool G Rap & DJ Polo,
Notorious Big And Bone Thugs,
Fad Gadget,
Sound Behaviour,
The Cowsills,
Super Lover Cee & Casanova Rud,
Donald Byrd,
Manfred Mann's Earth Band,
The Skatalites,
Suicide,
Porter Ricks,
Ponytail,
Fluxion,
The Fortunes,
Robert Görl,
Barrington Levy,
DeepChord presents Echospace,
Teenage Jesus and the Jerks,
The Dirtbombs,
Bizarre Inc.,
Gabor Szabo,
Scott Walker,
Crispian St. Peters,
Section 25,
Motorama, Motorama, Motorama, Motorama.
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.