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 Yemen and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Spokane.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 the Bar-Kays to the grunge kids.
I played it at the Astoria.
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 Mojo Men. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
the Fania All-Stars,
Arthur Verocai,
Ituana,
Pulsallama,
London Community Gospel Choir,
Jawbox,
Roger Hodgson,
Swell Maps,
Derrick May,
New York Dolls,
The Fortunes,
The Buckinghams,
Arab on Radar,
Major Organ And The Adding Machine,
Peter & Gordon,
Kas Product,
Alice Coltrane,
Lou Reed & Metallica,
The Five Americans,
Dennis Brown,
Eddi Front,
The Mojo Men,
The Sisters of Mercy,
DNA,
Henry Cow,
Suicide,
Surgeon,
The Peanut Butter Conspiracy,
Bobbi Humphrey,
Dave Gahan,
Average White Band,
Slave,
The Barracudas,
Ralphi Rosario,
Rod Modell,
Aaron Thompson,
Roxy Music,
The Cure,
Tubeway Army,
Ludus,
Kevin Saunderson,
Morten Harket,
Harmonia,
Delon & Dalcan,
Minnie Riperton,
Mars,
Susan Cadogan,
Section 25,
the Normal,
E-Dancer,
Sugar Minott,
Sällskapet,
Anthony Braxton,
Rhythm & Sound,
Captain Beefheart & His Magic Band,
The Mummies,
Bush Tetras,
Toni Rubio,
Nation of Ulysses,
The Pretty Things,
Public Enemy,
CMW, CMW, CMW, CMW.
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.