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 Malaysia and from Glasgow.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Accra and Edmonton.
I'm losing my edge to the art-school Houston 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Invisible to the jazz kids.
I played it at Cafe Wha.
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 Rapeman. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every The Alarm Clocks 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 '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Donny Hathaway record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Monks,
Marcia Griffiths,
Big Daddy Kane,
The Fortunes,
The Blackbyrds,
Selector Dub Narcotic,
The Cowsills,
The Dave Clark Five,
Sexual Harrassment,
Susan Cadogan,
The Techniques,
Minnie Riperton,
The Alarm Clocks,
Wighnomy Brothers & Robag Wruhme,
Infiniti,
Amon Düül,
Michelle Simonal,
Suburban Knight,
Accadde A,
Suicide,
Delon & Dalcan,
Gang Gang Dance,
The Busters,
The Evens,
Bob Dylan,
Boredoms,
Minutemen,
New Age Steppers,
Freddie Wadling,
Ralphi Rosario,
Andrew Ashong & Theo Parrish,
Goldenarms,
Ossler,
Intrusion,
Agent Orange,
Jandek,
Matthew Bourne,
Stiv Bators,
Henry Cow,
Brothers Johnson,
David Bowie,
A Certain Ratio,
Buzzcocks,
Kool G Rap & DJ Polo,
Althea and Donna,
The Trojans,
Sam Rivers,
Deadbeat,
Section 25,
U.S. Maple,
Girls At Our Best!,
Country Joe & The Fish,
Hardrive,
Monolake,
Kool Moe Dee,
Amazonics,
Soft Machine,
Prince Buster,
Oppenheimer Analysis,
Sister Nancy,
Ten City,
Black Pus,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.