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 Egypt and from Taipei.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Sugar Minott to the crunk 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Whodini 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Sad Lovers and Giants,
Sonny Sharrock,
Porter Ricks,
Can,
Mo-Dettes,
The Mighty Diamonds,
Quadrant,
Moby Grape,
Nik Kershaw,
Surgeon,
Black Moon,
X-101,
Quando Quango,
Rahsaan Roland Kirk,
The Wake,
Unrelated Segments,
Spandau Ballet,
Rod Modell,
Nick Fraelich,
Maleditus Sound,
Avey Tare & Kría Brekkan,
Pagans,
Alison Limerick,
Angry Samoans,
Lower 48,
Peter and Kerry,
Cymande,
Roxy Music,
Royal Trux,
Lonnie Liston Smith,
Pulsallama,
Todd Terry,
Flash Fearless,
The American Breed,
Blake Baxter,
H. Thieme,
Public Image Ltd.,
Altered Images,
Eve St. Jones,
It's A Beautiful Day,
Leonard Cohen,
Shuggie Otis,
The Moleskins,
Ronan,
Pharaoh Sanders and the Fire Engines,
The Dead C,
Negative Approach,
The Cure,
David McCallum,
Henry Cow,
Grey Daturas,
The Music Machine,
The Residents,
Funkadelic,
Visage,
kango's stein massive,
Pylon,
Agitation Free,
Gong,
Pet Shop Boys,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.