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 Tajikistan and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Tehran 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Patti Smith to the grunge 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 Index. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
The Fugs,
Stockholm Monsters,
The Five Americans,
The United States of America,
Bang On A Can,
Thee Headcoats,
Kurtis Blow,
Magazine,
Radiohead,
The Real Kids,
Negative Approach,
Animal Collective,
The Victims,
Fat Boys,
The Toasters,
The Move,
David Bowie,
Vainqueur,
Echospace,
The Star Department,
Althea and Donna,
Patti Smith,
The Flesh Eaters,
Metal Thangz,
Banda Bassotti,
Ajijia Myrayebe,
Sonny Sharrock,
The Blues Magoos,
Lee Hazlewood,
Barrington Levy,
Grandmaster Flash,
Nick Cave & The Bad Seeds,
B.T. Express,
Jerry Gold Smith,
Roxette,
The Seeds,
Kas Product,
Echo & the Bunnymen,
Qualms,
Eli Mardock,
Heavy D & The Boyz,
Severed Heads,
The Fall,
Morten Harket,
Hashim,
Sly & The Family Stone,
Make Up,
Dennis Brown,
Electric Prunes,
The Zeros,
Sister Nancy,
Major Organ And The Adding Machine,
Danielle Patucci,
Black Bananas,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.