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 Mozambique and from Shanghai.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 The Cramps to the dance kids.
I played it at the 40 Watt.
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 Blake Baxter. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Neil Young & Crazy Horse 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Robert Wyatt,
Intrusion,
Be Bop Deluxe,
Pantytec,
Lower 48,
Röyhkä ja Rättö ja Lehtisalo,
Sly & The Family Stone,
Juan Atkins,
Rhythim Is Rhythim,
Supertramp,
Ultra Naté,
Reagan Youth,
Negative Approach,
DeepChord presents Echospace,
Grey Daturas,
The Last Poets,
Camberwell Now,
Terry Callier,
The Tremeloes,
Stiv Bators,
Sight & Sound,
Crash Course in Science,
Bad Manners,
Scratch Acid,
Jesper Dahlback,
Roy Ayers Ubiquity,
Marcia Griffiths,
The Angels of Light,
Kayak,
The Gap Band,
The Music Machine,
Half Japanese,
The Young Rascals,
Angels of Light & Akron/Family,
Selector Dub Narcotic,
Oppenheimer Analysis,
Nils Olav,
James Chance & The Contortions,
Rufus Thomas,
The Divine Comedy,
Derrick Morgan,
The Zeros,
The Move,
Teenage Jesus and the Jerks,
Pussy Galore,
Lizzy Mercier Descloux,
Pantaleimon,
Scott Walker + Sunn O))),
London Community Gospel Choir,
Outsiders,
Ornette Coleman,
PIL,
This Heat,
Matthew Halsall,
John Holt,
MC5,
Jeff Mills,
Wasted Youth,
Arthur Verocai,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.