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 Nicaragua and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Taipei.
I'm losing my edge to the art-school Manchester 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet 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 CMW to the funk kids.
I played it at the Spitz.
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 James White and The Blacks. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Max Romeo 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Surgeon,
Talk Talk,
The Alarm Clocks,
The Toasters,
Captain Beefheart & His Magic Band,
the Human League,
The Buckinghams,
Hardrive,
Nirvana,
Don Cherry,
ABBA,
Röyhkä ja Rättö ja Lehtisalo,
Con Funk Shun,
Liaisons Dangereuses,
The Sound,
Severed Heads,
The Fall,
Absolute Body Control,
Sparks,
La Düsseldorf,
Ultra Naté,
Sugar Minott,
JFA,
Echospace,
A Certain Ratio,
Idris Muhammad,
Faust,
KRS-One,
The Durutti Column,
Chrome,
Rotary Connection,
Inner City,
Dual Sessions,
Gang Green,
the Bar-Kays,
Monolake,
The Saints,
Dead Boys,
Procol Harum,
Television,
Slick Rick,
Jesper Dahlbäck,
Robert Görl,
Motorama,
Bobby Hutcherson,
Nation of Ulysses,
Public Enemy,
Vainqueur,
Magazine,
Kauko Röyhkä ja Narttu,
Ituana,
Pet Shop Boys,
Amon Düül II,
Justin Hinds & The Dominoes,
Nils Olav,
The Index,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.