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 Togo and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Manchester 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 Chic practice in a loft in New York.
I was working on the synthesizer 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 Sound Behaviour to the grime kids.
I played it at the Roxy.
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 Vladislav Delay. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Minnie Riperton,
The Sisters of Mercy,
Scientists,
Rites of Spring,
Intrusion,
Gabor Szabo,
Television Personalities,
The Gap Band,
Richard Hell and the Voidoids,
Bush Tetras,
Flash Fearless,
Robert Wyatt,
The Evens,
8 Eyed Spy,
The Men They Couldn't Hang,
Supertramp,
Boogie Down Productions,
Sandy B,
Orchestral Manoeuvres in the Dark,
Hashim,
This Heat,
Rakim,
Deakin,
The Blackbyrds,
Jacob Miller,
Cabaret Voltaire,
K-Klass,
Skaos,
The Victims,
Vaughan Mason & Crew,
Juan Atkins,
Rhythim Is Rhythim,
Fugazi,
Negative Approach,
China Crisis,
The Blues Magoos,
Procol Harum,
Black Sheep,
The Fuzztones,
Reuben Wilson,
Bang On A Can,
Bronski Beat,
Crispy Ambulance,
The Residents,
Andrew Hill,
B.T. Express,
Public Image Ltd.,
The American Breed,
Ornette Coleman,
Terrestrial Tones,
Roxette,
Donald Byrd,
Vladislav Delay,
Monolake,
Matthew Halsall,
Faraquet,
Khruangbin,
Lafayette Afro Rock Band,
Can,
Easy Going,
Drexciya,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.