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 Burkina and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Tehran and Columbus.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Big Daddy Kane to the crunk kids.
I played it at the 40 Watt.
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 Crime. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pagans record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
James White and The Blacks,
Traffic Nightmare,
T. Rex,
Electric Prunes,
Brand Nubian,
Yellowson,
Ossler,
Rhythim Is Rhythim,
The Seeds,
Hot Snakes,
Cymande,
Black Pus,
Radio Birdman,
Isaac Hayes,
Neil Young,
Brass Construction,
Gang Starr,
Hashim,
Kurtis Blow,
Section 25,
Pagans,
Tropical Tobacco,
Gang of Four,
FM Einheit,
Kevin Saunderson,
Young Marble Giants,
Ronnie Foster,
Crime,
Sandy B,
The J.B.'s,
ABBA,
John Holt,
Flipper,
Tres Demented,
Rufus Thomas,
Tomorrow,
Clear Light,
Alton Ellis,
D'Angelo,
Bootsy's Rubber Band,
Beasts of Bourbon,
Althea and Donna,
Scion,
Lebanon Hanover,
Malaria!,
Camron Feat. Memphis Bleek And Beenie Seigel,
Stereo Dub,
Strawberry Alarm Clock,
B.T. Express,
Joyce Sims,
the Bar-Kays,
Blake Baxter,
Monks,
Boogie Down Productions,
Ludus,
Nils Olav,
Sad Lovers and Giants,
The Red Krayola,
Agent Orange,
Country Joe & The Fish,
Skriet,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.