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 Mongolia and from Accra.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Lyon 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 1971 at the first Selda practice in a loft in Istanbul.
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 Easy Going to the rap 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 Marshall Jefferson. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Archie Shepp,
The Cosmic Jokers,
Big Daddy Kane,
Television,
Rites of Spring,
Gil Scott-Heron and Jamie xx,
Brass Construction,
Bootsy's Rubber Band,
Alton Ellis,
Electric Light Orchestra,
The Men They Couldn't Hang,
Jeff Mills,
Ken Boothe,
Underground Resistance,
Deakin,
The Sonics,
Mark Hollis,
the Soft Cell,
Hoover,
Wighnomy Brothers & Robag Wruhme,
The Pretty Things,
In Retrospect,
DNA,
Alison Limerick,
Saccharine Trust,
Pulsallama,
The Durutti Column,
Angels of Light & Akron/Family,
Surgeon,
The Cure,
The Fortunes,
Eden Ahbez,
Gichy Dan,
Sister Nancy,
Malaria!,
Traffic Nightmare,
Tres Demented,
cv313,
Whodini,
Morten Harket,
Los Fastidios,
Vladislav Delay,
Jerry Gold Smith,
Joe Smooth,
Erasure,
Rod Modell,
Ponytail,
X-102,
Sexual Harrassment,
Gil Scott Heron,
Tom Boy,
The Fuzztones,
Nick Cave & The Bad Seeds,
FM Einheit,
Popol Vuh,
Manfred Mann's Earth Band,
Peter Gordon & Love of Life Orchestra,
Johnny Clarke,
Loose Ends,
Q65,
Negative Approach,
Marshall Jefferson,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.