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 Nepal and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 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 Trumans Water to the funk kids.
I played it at the Roxy.
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 Kings Of Tomorrow. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Los Fastidios 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 '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Johnny Osbourne,
The Mummies,
The Fortunes,
Bobby Hutcherson,
Kaleidoscope,
Joe Finger,
Q and Not U,
X-Ray Spex,
Kool Moe Dee,
Stiv Bators,
The Golliwogs,
Lakeside,
Davy DMX,
Jawbox,
Bobby Byrd,
Juan Atkins,
The Jesus and Mary Chain,
Ash Ra Tempel,
The Pretty Things,
Buzzcocks,
Dorothy Ashby,
The Leaves,
Au Pairs,
La Düsseldorf,
Althea and Donna,
Fear,
The Victims,
Pole,
Silicon Teens,
Bill Near,
Grauzone,
Alison Limerick,
Funkadelic,
Crime,
Jerry Gold Smith,
Drive Like Jehu,
Gastr Del Sol,
Organ,
The Dave Clark Five,
Hot Snakes,
Suburban Knight,
Carl Craig,
Nico,
Jeru the Damaja,
Deutsch Amerikanische Freundschaft,
Ossler,
Jacob Miller,
The West Coast Pop Art Experimental Band,
U.S. Maple,
Derrick May,
Massinfluence,
Altered Images,
Bronski Beat,
Black Sheep,
Echo & the Bunnymen,
Derrick Morgan,
Scan 7,
The Saints,
Liliput,
Susan Cadogan,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.