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 Hungary 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 1966 to 1972.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 808 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 Arthur Verocai to the grime 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 Kings Of Tomorrow. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every X-Ray Spex 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Erykah Badu,
The Five Americans,
Brothers Johnson,
The Associates,
Maurizio,
Fort Wilson Riot,
Kerri Chandler,
Gil Scott Heron,
Ossler,
Crash Course in Science,
Absolute Body Control,
Eric Copeland,
The Skatalites,
The Residents,
The Young Rascals,
Deakin,
Lindisfarne,
Stockholm Monsters,
The Sonics,
Jacob Miller,
Half Japanese,
Quadrant,
MDC,
Ornette Coleman,
Archie Shepp,
Sonny Sharrock,
The Pop Group,
Brick,
Sister Nancy,
The Fugs,
London Community Gospel Choir,
ABC,
Bush Tetras,
Index,
Jandek,
Buzzcocks,
June Days,
Pagans,
Orchestral Manoeuvres in the Dark,
Althea and Donna,
U.S. Maple,
Terror Squad Feat. Camron,
Underground Resistance,
The Litter,
Scratch Acid,
Suicide,
Kaleidoscope,
Skarface,
Con Funk Shun,
New York Dolls,
The Fuzztones,
Faust,
Gang Gang Dance,
Blancmange,
Eddi Front,
Urselle,
Eli Mardock,
Harry Pussy,
Depeche Mode,
In Retrospect,
Junior Murvin,
Jesper Dahlbäck,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.