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 Colombia and from Mexico City.
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 1970.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Halifax 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 crunk kids.
I played it at the Troubador.
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 Shuggie Otis. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Ornette Coleman,
the Soft Cell,
Monks,
Spoonie Gee,
Sticky Fingaz feat. Raekwon,
Marc Romboy vs. Booka Shade,
ABBA,
Tommy Roe,
The Pop Group,
Skaos,
Tropical Tobacco,
The Cosmic Jokers,
Pere Ubu,
Sexual Harrassment,
The Motions,
Boogie Down Productions,
Rotary Connection,
Rhythim Is Rhythim,
The Electric Prunes,
Electric Light Orchestra,
Toni Rubio,
K-Klass,
Jandek,
Todd Terry,
Eli Mardock,
The Last Poets,
Letta Mbulu,
the Sonics,
Neil Young & Crazy Horse,
The Gladiators,
Surgeon,
Kings Of Tomorrow,
Dual Sessions,
The Doobie Brothers,
Johnny Osbourne,
Girls At Our Best!,
Loose Ends,
Chris Corsano,
The Techniques,
Joensuu 1685,
Arthur Verocai,
X-Ray Spex,
The Count Five,
CMW,
The Shadows of Knight,
Davy DMX,
The Fortunes,
Panda Bear,
Sparks,
Terror Squad Feat. Camron,
Faust,
Interpol,
Curtis Mayfield,
Susan Cadogan,
Minutemen,
The Five Americans,
Sarah Menescal,
Eric Copeland,
David McCallum,
Fifty Foot Hose,
Icehouse, Icehouse, Icehouse, Icehouse.
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.