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 Bahrain and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Lyon and Tehran.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Stiv Bators to the rock 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 The Skatalites. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Judy Mowatt,
Sister Nancy,
Radio Birdman,
Quantec,
Massinfluence,
Glenn Branca,
Negative Approach,
The Jesus and Mary Chain,
Kool G Rap & DJ Polo,
Scion,
F. McDonald,
Rahsaan Roland Kirk,
David Bowie,
Kings Of Tomorrow,
Little Man,
Hasil Adkins,
Masters at Work,
Malaria!,
Babytalk,
Sex Pistols,
Japan,
The Leaves,
Eli Mardock,
It's A Beautiful Day,
Popol Vuh,
Aural Exciters,
Mo-Dettes,
Bizarre Inc.,
Groovy Waters,
Rod Modell,
Todd Terry,
Reuben Wilson,
Stereo Dub,
MC5,
Juan Atkins,
The Birthday Party,
Kerri Chandler,
The Names,
Black Moon,
Joey Negro,
The Sound,
Ultravox,
Angels of Light & Akron/Family,
Johnny Osbourne,
Yellowson,
Oneida,
Theoretical Girls,
New Age Steppers,
The Gun Club,
Eve St. Jones,
Robert Hood,
Avey Tare,
E-Dancer,
Agent Orange,
Lalo Schifrin,
Fat Boys,
Mark Hollis,
JFA,
Gian Franco Pienzio,
Shuggie Otis,
Slave,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.