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 Norway and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 Delon & Dalcan 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 Maurizio. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker + Sunn O))) record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
The Monochrome Set,
Lungfish,
The Litter,
Morten Harket,
Basic Channel,
Scan 7,
Ronnie Foster,
Charles Mingus,
The Evens,
Nico,
Shuggie Otis,
Yaz,
Nick Cave & The Bad Seeds,
Sonic Youth,
Gerry Rafferty,
X-102,
The Gun Club,
Lonnie Liston Smith,
Accadde A,
Drexciya,
Scott Walker,
Rufus Thomas,
Scrapy,
Agitation Free,
Johnny Osbourne,
Rhythim Is Rhythim,
Brick,
The Seeds,
Dennis Brown,
Inner City,
The Shadows of Knight,
Bobby Womack,
The Slits,
Siglo XX,
Jacques Brel,
Porter Ricks,
Roy Ayers Ubiquity,
Justin Hinds & The Dominoes,
Ultravox,
Jeru the Damaja,
John Holt,
Kool G Rap & DJ Polo,
Spandau Ballet,
Boogie Down Productions,
Fugazi,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mad Mike,
Donald Byrd,
Country Teasers,
Stereo Dub,
Cluster,
Alice Coltrane,
Robert Görl,
Sällskapet,
Thee Headcoats,
Eric Dolphy,
Quando Quango,
Mr. Review,
The Modern Lovers,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.