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 New Zealand and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1974.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school New York 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 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 Patti Smith to the rock kids.
I played it at the Roxy.
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 Nas. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Bootsy Collins,
The Jesus and Mary Chain,
The Dead C,
Accadde A,
Desert Stars,
Nik Kershaw,
The Modern Lovers,
Ultramagnetic MC's,
the Slits,
Soft Cell,
Lalann,
UT,
Rosa Yemen,
Howard Jones,
Faraquet,
Bobby Byrd,
Joe Finger,
Barclay James Harvest,
Bobby Hutcherson,
Blossom Toes,
Ralphi Rosario,
Youth Brigade,
Mandrill,
Heaven 17,
Graham Central Station,
Von Mondo,
Khruangbin,
the Fania All-Stars,
The Count Five,
Black Bananas,
Eyeless In Gaza,
the Bar-Kays,
Fear,
Cecil Taylor,
Boz Scaggs,
Crime,
Silicon Teens,
The Standells,
Theoretical Girls,
The Birthday Party,
Frankie Knuckles,
Visage,
Scott Walker,
Notorious Big And Bone Thugs,
Joyce Sims,
the Normal,
The Sisters of Mercy,
Sixth Finger,
Quando Quango,
LL Cool J,
David Axelrod,
Marc Almond,
Kurtis Blow,
Matthew Bourne,
Eric Dolphy,
The Invisible,
Henry Cow,
Soul Sonic Force,
Interpol,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.