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 Guyana and from Copenhagen.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
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 marimba 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 Traffic Nightmare to the electroclash 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 Suburban Knight. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Deakin,
Judy Mowatt,
Joyce Sims,
Max Romeo,
Oppenheimer Analysis,
The Alarm Clocks,
New Age Steppers,
Soft Machine,
Second Layer,
Notorious BIG live in Amsterdam,
B.T. Express,
Suicide,
June Days,
Lungfish,
Todd Terry,
Visage,
Eric B and Rakim,
The Stooges,
Ultramagnetic MC's,
Wings,
Groovy Waters,
Country Joe & The Fish,
The Trojans,
The Mummies,
Hasil Adkins,
Qualms,
Rhythm & Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Move,
10cc,
The Techniques,
Sugar Minott,
Rekid,
the Association,
the Bar-Kays,
Beasts of Bourbon,
Joe Smooth,
PIL,
F. McDonald,
Arthur Verocai,
Ten City,
Minor Threat,
KRS-One,
La Düsseldorf,
Mad Mike,
Fatback Band,
Kerrie Biddell,
The Doobie Brothers,
a-ha,
Panda Bear,
Bobby Byrd,
De La Soul & Jungle Brothers,
The Cramps,
Gastr Del Sol,
Nirvana,
John Lydon,
Banda Bassotti,
The Electric Prunes,
Marmalade,
The Dave Clark Five,
Moebius,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.