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 Mexico and from Tokyo.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when Lou Reed 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 Grandmaster Flash to the electroclash 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 Popol Vuh. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Main Source 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Hot Snakes,
Nils Olav,
Agitation Free,
Kas Product,
Malaria!,
Sad Lovers and Giants,
Guru Guru,
Andrew Hill,
Flamin' Groovies,
Popol Vuh,
Flipper,
Clear Light,
Davy DMX,
Nico,
Blossom Toes,
the Soft Cell,
John Coltrane,
T. Rex,
Gil Scott-Heron and Jamie xx,
Brass Construction,
Sparks,
The Victims,
The Index,
Au Pairs,
The Wake,
Franke,
Gang Starr,
Faust,
The Black Dice,
Black Flag,
Max Romeo,
Soul II Soul,
The Trojans,
Wally Richardson,
Dual Sessions,
Quantec,
Deadbeat,
Big Daddy Kane,
Todd Terry,
Yazoo,
Laurel Aitken,
Eddi Front,
The Slits,
Freddie Wadling,
The Flesh Eaters,
Thee Headcoats,
Toni Rubio,
the Fania All-Stars,
Quando Quango,
JFA,
The Dave Clark Five,
Deepchord,
Lonnie Liston Smith,
Notorious BIG live in Amsterdam,
Johnny Osbourne,
Bootsy Collins,
Eurythmics,
Danielle Patucci,
James White and The Blacks,
OOIOO,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.