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 Madagascar and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Seoul 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 güiro 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 Altered Images to the punk kids.
I played it at the Troubador.
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 Lou Reed. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every The Smoke 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Stiv Bators,
Minnie Riperton,
Slick Rick,
DJ Sneak,
Ludus,
Gastr Del Sol,
Maleditus Sound,
X-101,
Ronnie Foster,
The Red Krayola,
The Young Rascals,
Manfred Mann's Earth Band,
The Busters,
Swans,
Panda Bear,
Danielle Patucci,
Boogie Down Productions,
Joe Finger,
L. Decosne,
These Immortal Souls,
Rowland S Howard / Lydia Lunch,
Spandau Ballet,
Arcadia,
Deakin,
Roy Ayers,
Q and Not U,
In Retrospect,
Rhythim Is Rhythim,
The Dead C,
The Detroit Cobras,
LL Cool J,
The Leaves,
Kauko Röyhkä ja Narttu,
The Cosmic Jokers,
Judy Mowatt,
Grandmaster Flash and the Furious Five,
Roy Ayers Ubiquity,
Dual Sessions,
Duran Duran,
It's A Beautiful Day,
Liliput,
The Techniques,
Little Man,
Amon Düül,
Silicon Teens,
Bootsy's Rubber Band,
the Normal,
Hoover,
Sexual Harrassment,
The Invisible,
Buzzcocks,
Kool G Rap & DJ Polo,
Kings Of Tomorrow,
Sunsets and Hearts,
Young Marble Giants,
Scion,
Skaos,
KRS-One,
Grauzone,
Average White Band,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.