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 Somalia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Cairo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Scion to the crunk 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 Hoover. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Sugar Minott,
June of 44,
the Human League,
The Blackbyrds,
Juan Atkins,
Siouxsie and the Banshees,
Man Parrish,
The Grass Roots,
Scott Walker,
Boogie Down Productions,
F. McDonald,
Hoover,
Parry Music,
Ronan,
Big Daddy Kane,
DJ Style,
Danielle Patucci,
Aural Exciters,
Saccharine Trust,
Maurizio,
Con Funk Shun,
Supertramp,
Heavy D & The Boyz,
Cheater Slicks,
Brass Construction,
The Modern Lovers,
The Fugs,
John Lydon,
Sly & The Family Stone,
Throbbing Gristle,
The Slits,
The Motions,
Joyce Sims,
Tom Boy,
The Tremeloes,
JFA,
Stetsasonic,
Sparks,
Cameo,
Fat Boys,
Camouflage,
The Fall,
Stereo Dub,
Erasure,
Johnny Osbourne,
Organ,
Jeff Lynne,
The Smiths,
Joe Smooth,
Pete Rock & C.L. Smooth,
Crime,
Soulsonic Force,
Derrick May,
Lakeside,
Rakim,
Pulsallama,
Rapeman, Rapeman, Rapeman, Rapeman.
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.