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 Equatorial Guinea and from Copenhagen.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Columbus 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 The Grass Roots to the jazz kids.
I played it at Cafe Wha.
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 Radio Birdman. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
The Wake,
Cameo,
X-102,
Quando Quango,
Flash Fearless,
Sonny Sharrock,
Joe Finger,
Erasure,
This Heat,
Rhythm & Sound,
Electric Prunes,
Sandy B,
Black Bananas,
Ludus,
The Five Americans,
Khruangbin,
Jeff Mills,
John Foxx,
Banda Bassotti,
the Bar-Kays,
Niagra,
Glambeats Corp.,
The Happenings,
Eden Ahbez,
Donny Hathaway,
The Beau Brummels,
Chris & Cosey,
Spandau Ballet,
the Fania All-Stars,
Wighnomy Brothers & Robag Wruhme,
Moebius,
The Motions,
De La Soul & Jungle Brothers,
Eyeless In Gaza,
Crash Course in Science,
Black Pus,
The Sound,
Wally Richardson,
The Associates,
Moby Grape,
Major Organ And The Adding Machine,
Lungfish,
Curtis Mayfield,
Skriet,
Crispy Ambulance,
Inner City,
Sun City Girls,
Can,
Sexual Harrassment,
Bootsy's Rubber Band,
The Victims,
Archie Shepp,
Scrapy,
Skaos,
Larry & the Blue Notes,
Rosa Yemen,
Fifty Foot Hose,
David McCallum,
Roxy Music,
David Axelrod,
Aural Exciters,
The Move,
Brick, Brick, Brick, Brick.
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.