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 Guinea-Bissau and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Accra 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 1968 at the first Bowie practice in a loft in Bromley.
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 Barry Ungar to the crunk 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 Bootsy Collins. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
the Human League,
Metal Thangz,
Amon Düül II,
Alice Coltrane,
Rod Modell,
DeepChord presents Echospace,
Ash Ra Tempel,
Pharoah Sanders,
Cheater Slicks,
Slick Rick,
The Sisters of Mercy,
The Move,
The Fire Engines,
Skarface,
Marshall Jefferson,
Kings Of Tomorrow,
Peter Gordon & Love of Life Orchestra,
Kerrie Biddell,
The Beau Brummels,
Altered Images,
Circle Jerks,
The Saints,
The Busters,
Strawberry Alarm Clock,
Jesper Dahlback,
Stetsasonic,
Terry Callier,
John Coltrane,
Notorious Big And Bone Thugs,
Neu!,
A Flock of Seagulls,
Grandmaster Flash and the Furious Five,
The West Coast Pop Art Experimental Band,
Albert Ayler,
Colin Newman,
the Association,
Lou Reed,
Model 500,
Moby Grape,
Roy Ayers,
The Dead C,
Lafayette Afro Rock Band,
Alison Limerick,
The Names,
The New Christs,
Moss Icon,
Manfred Mann's Earth Band,
Gang Gang Dance,
Goldenarms,
Scratch Acid,
Bootsy Collins,
The Sound,
Public Enemy,
Ralphi Rosario,
The United States of America,
Lizzy Mercier Descloux,
Gil Scott-Heron and Jamie xx,
John Foxx,
Eurythmics,
The Music Machine,
Morten Harket,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.