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 Cuba and from Bremen.
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 Edmonton and Mexico City.
I'm losing my edge to the art-school Beijing 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin 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 Albert Ayler to the funk kids.
I played it at the Crocodile.
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 June of 44. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
World's Most,
Rakim,
Nas,
The Fortunes,
the Human League,
John Foxx,
The Neon Judgement,
Ultimate Spinach,
John Holt,
Gichy Dan,
Rapeman,
Robert Hood,
the Slits,
Andrew Hill,
Quando Quango,
The Toasters,
Fugazi,
Stiv Bators,
Sugar Minott,
Blancmange,
Mad Mike,
Wire,
James Chance & The Contortions,
The Electric Prunes,
Amon Düül II,
the Normal,
Avey Tare's Slasher Flicks,
Camouflage,
MDC,
Eric Dolphy,
Main Source,
Eric B and Rakim,
Jesper Dahlbäck,
Royal Trux,
Leonard Cohen,
Derrick May,
Sonic Youth,
CMW,
Deepchord,
Camron Feat. Memphis Bleek And Beenie Seigel,
Can,
Dead Boys,
Nico,
Ralphi Rosario,
Gang Green,
Ultramagnetic MC's,
Bootsy's Rubber Band,
Gil Scott Heron,
Dawn Penn,
The Vogues,
Radiopuhelimet,
Reuben Wilson,
Yaz,
Bill Wells,
Crooked Eye,
Gang Starr,
Lalo Schifrin,
Excepter,
Derrick Morgan,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.