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 Libya and from Woodstock.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Hashim to the disco kids.
I played it at CBGB's.
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 Second Layer. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Severed Heads,
Inner City,
Television,
Bizarre Inc.,
Todd Terry,
Throbbing Gristle,
Connie Case,
Lucky Dragons,
London Community Gospel Choir,
Cymande,
Avey Tare,
Mo-Dettes,
Maleditus Sound,
Icehouse,
Sexual Harrassment,
Iggy Pop,
David Axelrod,
The Doobie Brothers,
the Germs,
Bad Manners,
The Red Krayola,
The Index,
Outsiders,
Max Romeo,
Laurel Aitken,
the Human League,
Kas Product,
New Age Steppers,
Trumans Water,
Monolake,
Scion,
Justin Hinds & The Dominoes,
Jandek,
June of 44,
Second Layer,
Wighnomy Brothers & Robag Wruhme,
OOIOO,
ABBA,
The Beau Brummels,
The Fortunes,
The Five Americans,
Swell Maps,
Black Sheep,
De La Soul & Jungle Brothers,
Newcleus,
Popol Vuh,
T.S.O.L.,
The J.B.'s,
Yazoo,
Ten City,
The Dave Clark Five,
Subhumans,
Bobby Byrd,
Sarah Menescal,
Rhythm & Sound,
Eric B and Rakim,
Lakeside,
Fugazi,
B.T. Express,
Mantronix,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.