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 Colombia and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Bologna and Houston.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Saccharine Trust to the rap 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 The Skatalites. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones 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?
Roy Ayers Ubiquity,
Pharoah Sanders,
Big Daddy Kane,
Icehouse,
Chrome,
Can,
John Lydon,
Crash Course in Science,
Yusef Lateef,
The Barracudas,
Siglo XX,
The Count Five,
The Gladiators,
World's Most,
Au Pairs,
Sad Lovers and Giants,
Eddi Front,
Niagra,
Schoolly D,
Soul Sonic Force,
Jacques Brel,
Mr. Review,
Eve St. Jones,
Boredoms,
Rhythm & Sound,
The Mojo Men,
Maleditus Sound,
Radiohead,
Jesper Dahlbäck,
Oneida,
Don Cherry,
Ice-T,
Arab on Radar,
Malaria!,
The Residents,
Drexciya,
Isaac Hayes,
The Electric Prunes,
James Chance & The Contortions,
Davy DMX,
Cybotron,
Matthew Halsall,
Theoretical Girls,
Rekid,
Gang Starr,
Minny Pops,
Newcleus,
AZ,
Stereo Dub,
the Human League,
Radio Birdman,
T.S.O.L.,
Teenage Jesus and the Jerks,
Sällskapet,
Second Layer,
Average White Band,
Jawbox,
Electric Prunes,
Lalo Schifrin,
Popol Vuh,
Electric Light Orchestra,
Funkadelic,
The Star Department, The Star Department, The Star Department, The Star Department.
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.