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 Austria and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Columbus 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 1977 at the first Human League practice in a loft in Sheffield.
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 Bootsy Collins to the punk kids.
I played it at the Hacienda.
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 Cabaret Voltaire. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Johnny Osbourne 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Boogie Down Productions,
The Shadows of Knight,
The Martian,
Dead Boys,
London Community Gospel Choir,
A Certain Ratio,
Bauhaus,
Visage,
PIL,
Curtis Mayfield,
Sparks,
Tropical Tobacco,
Pagans,
Television,
Hashim,
David Axelrod,
Index,
Sixth Finger,
Vladislav Delay,
The Gun Club,
The Index,
U.S. Maple,
Kerri Chandler,
Lizzy Mercier Descloux,
These Immortal Souls,
Black Sheep,
Organ,
Agent Orange,
Lee Hazlewood,
Nation of Ulysses,
cv313,
Siglo XX,
Bootsy Collins,
Kerrie Biddell,
Terry Callier,
Goldenarms,
Davy DMX,
Ituana,
The Red Krayola,
Bill Wells,
Soul II Soul,
Kango’s Stein Massive,
Moss Icon,
June Days,
Malaria!,
Whodini,
Masters at Work,
Das Ding,
Vainqueur,
Marvin Gaye,
Grey Daturas,
Funky Four + One,
New York Dolls,
Alton Ellis,
De La Soul & Jungle Brothers,
Judy Mowatt,
The Seeds,
Patti Smith,
The Pop Group,
Deakin,
The Walker Brothers,
Echo & the Bunnymen,
MDC, MDC, MDC, MDC.
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.