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 Honduras and from Portland.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Houston.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Flash Fearless to the techno kids.
I played it at the Astoria.
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 DJ Sneak. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Absolute Body Control,
The Doors,
Fad Gadget,
Jesper Dahlbäck,
The Moody Blues,
Johnny Osbourne,
Sarah Menescal,
X-101,
Procol Harum,
the Human League,
The Five Americans,
Avey Tare's Slasher Flicks,
Pharoah Sanders,
Babytalk,
The Beau Brummels,
Dual Sessions,
The Cowsills,
Rakim,
Magazine,
DJ Style,
D'Angelo,
Blancmange,
Bronski Beat,
Zero Boys,
Mantronix,
Simply Red,
Dennis Brown,
Morten Harket,
Eden Ahbez,
Don Cherry,
Livin' Joy,
Arthur Verocai,
Pet Shop Boys,
Altered Images,
London Community Gospel Choir,
L. Decosne,
Black Moon,
Grauzone,
In Retrospect,
Bill Wells,
Thompson Twins,
JFA,
Pole,
Sugar Minott,
Stereo Dub,
Arcadia,
Soft Cell,
Parry Music,
Todd Rundgren,
Franke,
Lonnie Liston Smith,
Niagra,
Dawn Penn,
Grandmaster Flash,
The Stooges,
Hardrive,
Monolake,
Crispy Ambulance,
The Slits,
Buzzcocks,
UT,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.