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 Bangladesh and from Jakarta.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Lagos and Bremen.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 Todd Terry to the funk kids.
I played it at the Troubador.
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 Symarip. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal disco 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
Rakim,
China Crisis,
The Neon Judgement,
The Monochrome Set,
OOIOO,
Gil Scott-Heron & Brian Jackson,
Throbbing Gristle,
Pierre Henry,
Suicide,
ABC,
Drive Like Jehu,
New York Dolls,
Grandmaster Flash and the Furious Five,
the Normal,
Crispy Ambulance,
Hardrive,
Sex Pistols,
Main Source,
Swell Maps,
Beasts of Bourbon,
Hasil Adkins,
Fugazi,
Average White Band,
cv313,
Youth Brigade,
Nils Olav,
Dark Day,
Scratch Acid,
The Peanut Butter Conspiracy,
Fluxion,
John Foxx,
Funky Four + One,
Sonic Youth,
Erasure,
Chrome,
Andrew Hill,
Hashim,
Sight & Sound,
Gastr Del Sol,
The Raincoats,
Röyhkä ja Rättö ja Lehtisalo,
Von Mondo,
Glambeats Corp.,
8 Eyed Spy,
Simply Red,
Kerri Chandler,
Flash Fearless,
Young Marble Giants,
Angry Samoans,
Max Romeo,
Minnie Riperton,
Patti Smith,
The Knickerbockers,
Model 500,
Pylon,
Essential Logic,
Flipper,
David Bowie,
The Gap Band,
Lebanon Hanover,
Lakeside, Lakeside, Lakeside, Lakeside.
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.