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 Montenegro and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Milan and Bremen.
I'm losing my edge to the art-school Spokane 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 Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Joey Negro 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 Amon Düül. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Funky Four + One,
Derrick May,
Amon Düül II,
The Slackers,
De La Soul & Jungle Brothers,
These Immortal Souls,
10cc,
Bizarre Inc.,
MDC,
Ornette Coleman,
Boredoms,
Ossler,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sound Behaviour,
U.S. Maple,
Yusef Lateef,
Sonny Sharrock,
Junior Murvin,
Wire,
Sun Ra,
Glambeats Corp.,
Ralphi Rosario,
The Chocolate Watch Band,
The Fire Engines,
Terry Callier,
The Music Machine,
Marshall Jefferson,
Bobby Sherman,
Organ,
Franke,
Roy Ayers,
Kool Moe Dee,
Crooked Eye,
Eric Dolphy,
Stereo Dub,
Public Enemy,
H. Thieme,
Ash Ra Tempel,
The Happenings,
The Mighty Diamonds,
Porter Ricks,
Lalann,
Pere Ubu,
Masters at Work,
Eve St. Jones,
Morten Harket,
Model 500,
Tropical Tobacco,
the Germs,
Harmonia,
Liliput,
Terrestrial Tones,
Public Image Ltd.,
Neil Young,
The Fuzztones,
The Wake,
ABC,
Gary Puckett & The Union Gap,
Donald Byrd,
Andrew Ashong & Theo Parrish,
Loose Ends,
Be Bop Deluxe,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.