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 Romania and from Milan.
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 Lyon and Lagos.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Isaac Hayes to the techno 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 The Durutti Column. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal jazz 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 808 and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Grauzone,
The Peanut Butter Conspiracy,
Lucky Dragons,
B.T. Express,
The Busters,
The Dead C,
Animal Collective,
The Velvet Underground,
Aural Exciters,
Skriet,
Ronnie Foster,
Radio Birdman,
Sonny Sharrock,
Richard Hell and the Voidoids,
Minutemen,
London Community Gospel Choir,
Steve Hackett,
Rosa Yemen,
Lizzy Mercier Descloux,
ABC,
The Red Krayola,
Heaven 17,
Gil Scott-Heron & Brian Jackson,
The Selecter,
Yellowson,
Masters at Work,
The Men They Couldn't Hang,
Lungfish,
Notorious Big And Bone Thugs,
Kool Moe Dee,
James White and The Blacks,
Lalo Schifrin,
John Foxx,
Moebius,
Vaughan Mason & Crew,
June Days,
FM Einheit,
Chris Corsano,
Johnny Clarke,
Bang on a Can All-Stars,
Whodini,
The Sound,
The Smoke,
Vainqueur,
Fat Boys,
Dark Day,
Moby Grape,
Pantaleimon,
It's A Beautiful Day,
Pagans,
The Birthday Party,
Sun Ra,
The Tremeloes,
Kurtis Blow,
The Evens,
Brass Construction,
Grandmaster Flash and the Furious Five,
Brand Nubian,
LL Cool J,
Electric Light Orchestra,
Technova,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.