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 Serbia and from Lagos.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
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 1973 at the first Television practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Jeff Mills to the electroclash kids.
I played it at CBGB's.
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 JFA. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare 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 arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Minny Pops,
Man Parrish,
Siglo XX,
Judy Mowatt,
Index,
JFA,
Eve St. Jones,
Bush Tetras,
the Swans,
Public Enemy,
The Toasters,
Arab on Radar,
Notorious BIG live in Amsterdam,
Frankie Knuckles,
Spandau Ballet,
Parry Music,
Bobbi Humphrey,
Pet Shop Boys,
Basic Channel,
Symarip,
The Smiths,
Hoover,
Quadrant,
Pharoah Sanders,
The Leaves,
Scion,
Piero Umiliani,
Cheater Slicks,
Peter Gordon & Love of Life Orchestra,
Soulsonic Force,
Cluster,
Amon Düül II,
David Axelrod,
Technova,
Alphaville,
The Seeds,
Dennis Brown,
the Soft Cell,
Danielle Patucci,
Chris & Cosey,
Gian Franco Pienzio,
Audionom,
Sparks,
DJ Sneak,
Robert Hood,
Faraquet,
Bluetip,
The Beau Brummels,
Roger Hodgson,
Country Joe & The Fish,
Hardrive,
Lungfish,
The Remains,
Q and Not U,
The Dead C,
London Community Gospel Choir,
Groovy Waters,
Rod Modell,
John Foxx, John Foxx, John Foxx, John Foxx.
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.