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 Belize and from Taipei.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Accra 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 808 sounds with much patience.
I was there when Holger Czukay 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 Sugar Minott to the punk 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 Nas. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Lindisfarne,
Avey Tare,
Liliput,
Sound Behaviour,
Selector Dub Narcotic,
Soft Cell,
Pagans,
Jesper Dahlbäck,
Gerry Rafferty,
The Peanut Butter Conspiracy,
Heaven 17,
China Crisis,
Gregory Isaacs,
Visionaries,LMNO, T- Love & Iriscience,
X-102,
Royal Trux,
Todd Rundgren,
Sex Pistols,
The Fire Engines,
Gang Starr,
Mandrill,
Ajijia Myrayebe,
Underground Resistance,
The Names,
Max Romeo,
Warsaw,
Thinking Fellers Union Local 282,
Blossom Toes,
Lyres,
Michelle Simonal,
Babytalk,
The Dave Clark Five,
Crispian St. Peters,
Kerrie Biddell,
Pantytec,
JFA,
One Last Wish,
Arcadia,
Deepchord,
H. Thieme,
Bang on a Can All-Stars,
Fluxion,
The Vogues,
Jawbox,
James White and The Blacks,
Au Pairs,
The Birthday Party,
Donald Byrd,
Stiv Bators,
Joe Smooth,
In Retrospect,
Roxy Music,
Bush Tetras,
Porter Ricks,
Pete Rock & C.L. Smooth,
Nils Olav,
Goldenarms,
Lalann,
Röyhkä ja Rättö ja Lehtisalo,
Brick, Brick, Brick, Brick.
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.