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 Liberia and from Woodstock.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Bologna and London.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Buckinghams to the electroclash kids.
I played it at the Hacienda.
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 A Certain Ratio. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Skarface record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Tommy Roe,
Joensuu 1685,
John Foxx,
Joyce Sims,
The Red Krayola,
The Monochrome Set,
Pet Shop Boys,
Hardrive,
The Victims,
Khruangbin,
Panda Bear,
Cameo,
the Bar-Kays,
Mr. Review,
Zero Boys,
the Slits,
Adolescents,
The Trojans,
The J.B.'s,
Alton Ellis,
Albert Ayler,
Marshall Jefferson,
The Wake,
Nick Fraelich,
Gong,
The Tremeloes,
Audionom,
Sight & Sound,
Funky Four + One,
Marine Girls,
Traffic Nightmare,
The Zeros,
The Gap Band,
Rod Modell,
Youth Brigade,
The Black Dice,
Crime,
Bang on a Can All-Stars,
Ken Boothe,
Brand Nubian,
The Fortunes,
Fifty Foot Hose,
Spoonie Gee,
Prince Buster,
Carl Craig,
The Litter,
AZ,
Heavy D & The Boyz,
Donny Hathaway,
Bob Dylan,
Masters at Work,
Bootsy Collins,
Roy Ayers Ubiquity,
Maurizio,
Essential Logic,
The American Breed,
Boz Scaggs,
Letta Mbulu,
The Gun Club,
Pole,
Gang Green, Gang Green, Gang Green, Gang Green.
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.