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 Portugal and from Accra.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school Taipei 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Faust to the funk 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 Niagra. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Whodini record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Dorothy Ashby,
Gastr Del Sol,
Y Pants,
Sad Lovers and Giants,
Echospace,
Jerry's Kids,
Kurtis Blow,
The Cramps,
Sunsets and Hearts,
Reagan Youth,
Bizarre Inc.,
Derrick May,
Inner City,
John Foxx,
Visionaries,LMNO, T- Love & Iriscience,
The Litter,
John Lydon,
Rapeman,
Man Parrish,
Tom Boy,
Art Ensemble Of Chicago,
Grauzone,
Silicon Teens,
The Monks,
Danielle Patucci,
Warren Ellis,
Agent Orange,
Wire,
Mr. Review,
Duran Duran,
Bobbi Humphrey,
Gang Starr,
Fugazi,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Susan Cadogan,
Eurythmics,
Cymande,
Agitation Free,
Bobby Womack,
China Crisis,
The Kinks,
Country Teasers,
Skriet,
Davy DMX,
Groovy Waters,
ABC,
Dawn Penn,
Vladislav Delay,
The Busters,
Maurizio,
World's Most,
Steve Hackett,
Brothers Johnson,
Eric Copeland,
Bush Tetras,
Manfred Mann's Earth Band,
Gary Puckett & The Union Gap,
Funkadelic,
Fatback Band,
Reuben Wilson,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.