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 Tajikistan and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school New York 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the spring reverb 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 Johnny Osbourne to the punk kids.
I played it at the Spitz.
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 Electric Prunes. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Johnny Clarke,
Kerrie Biddell,
Oblivians,
Todd Terry,
Country Teasers,
Can,
Michelle Simonal,
Gil Scott Heron,
Circle Jerks,
Colin Newman,
Nirvana,
The Cure,
Sandy B,
Mr. Review,
Liliput,
Faust,
Maurizio,
Deakin,
The Move,
Fort Wilson Riot,
Minnie Riperton,
Jeru the Damaja,
Jesper Dahlback,
Arcadia,
R.M.O.,
Super Lover Cee & Casanova Rud,
June of 44,
The Victims,
Rowland S Howard / Lydia Lunch,
Hardrive,
Joyce Sims,
Davy DMX,
Lungfish,
Das Ding,
Ossler,
Outsiders,
Main Source,
Technova,
Robert Hood,
Bill Near,
Pylon,
Moss Icon,
Wally Richardson,
Sun Ra Arkestra,
Wolf Eyes,
The Peanut Butter Conspiracy,
Pharaoh Sanders and the Fire Engines,
Chrome,
Avey Tare,
Harmonia,
Sound Behaviour,
John Lydon,
D'Angelo,
Ken Boothe,
The Dave Clark Five,
The Misunderstood,
Excepter,
Basic Channel,
Animal Collective,
Crooked Eye,
Visage, Visage, Visage, Visage.
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.