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 Poland and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Toronto 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 DeepChord presents Echospace to the funk kids.
I played it at CBGB's.
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 Liliput. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal rap 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
JFA,
Terry Callier,
The Star Department,
Fugazi,
Fat Boys,
Crime,
Fad Gadget,
Bobby Hutcherson,
The Leaves,
Carl Craig,
Liliput,
Japan,
Jesper Dahlbäck,
Theoretical Girls,
Dave Gahan,
Vainqueur,
Sparks,
Rhythim Is Rhythim,
Pharoah Sanders,
Terrestrial Tones,
Wasted Youth,
DNA,
Sex Pistols,
Soul Sonic Force,
Aural Exciters,
Funky Four + One,
Sexual Harrassment,
Arab on Radar,
The Walker Brothers,
The Royal Family And The Poor,
Kool Moe Dee,
The Jesus and Mary Chain,
Porter Ricks,
Minnie Riperton,
Orchestral Manoeuvres in the Dark,
Kevin Saunderson,
Sonny Sharrock,
Oblivians,
Jacques Brel,
Darondo,
Mark Hollis,
Lou Reed & John Cale,
Little Man,
Beasts of Bourbon,
MDC,
Brothers Johnson,
Popol Vuh,
Wally Richardson,
Eddi Front,
Lyres,
Index,
Adolescents,
Dorothy Ashby,
Robert Hood,
Lalo Schifrin,
Arthur Verocai,
Isaac Hayes,
The Knickerbockers,
Wings,
Peter and Kerry,
The Real Kids,
Hardrive,
Easy Going, Easy Going, Easy Going, Easy Going.
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.