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 Pakistan and from Mumbai.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Delhi and Portland.
I'm losing my edge to the art-school Lille 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 oboe 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 Derrick May to the techno 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 The Barracudas. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Faraquet 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Girls At Our Best!,
Rod Modell,
Lee Hazlewood,
Bang on a Can All-Stars,
Rites of Spring,
Radio Birdman,
Pere Ubu,
the Slits,
Tommy Roe,
Justin Hinds & The Dominoes,
Slick Rick,
Marmalade,
Barrington Levy,
Kool G Rap & DJ Polo,
Fatback Band,
cv313,
Be Bop Deluxe,
John Holt,
The Mighty Diamonds,
Notorious Big And Bone Thugs,
Derrick Morgan,
Sister Nancy,
Marine Girls,
Kurtis Blow,
Unwound,
Dark Day,
Soulsonic Force,
Donny Hathaway,
Technova,
Bill Wells,
Reuben Wilson,
The Walker Brothers,
Maleditus Sound,
Josef K,
Gregory Isaacs,
Steve Hackett,
Jerry's Kids,
Ultravox,
Chrome,
Lungfish,
Todd Terry,
Marshall Jefferson,
The Modern Lovers,
Cybotron,
Lonnie Liston Smith,
Yaz,
Grey Daturas,
A Flock of Seagulls,
E-Dancer,
Underground Resistance,
Second Layer,
Ultramagnetic MC's,
Chris Corsano,
Rakim,
Yellowson,
Camron Feat. Memphis Bleek And Beenie Seigel,
F. McDonald,
Motorama,
Kevin Saunderson,
Crime,
The Doobie Brothers,
Captain Beefheart & His Magic Band,
Little Man, Little Man, Little Man, Little Man.
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.