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 Lesotho and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Spokane 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 clarinet 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 Bill Near to the dance kids.
I played it at the Hacienda.
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 Dual Sessions. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Ronnie Foster,
Moebius,
Marc Romboy vs. Booka Shade,
Jacques Brel,
Lonnie Liston Smith,
Pantytec,
Selector Dub Narcotic,
Avey Tare & Kría Brekkan,
Rites of Spring,
The Birthday Party,
The New Christs,
The Neon Judgement,
10cc,
Amon Düül II,
X-Ray Spex,
Bizarre Inc.,
Michelle Simonal,
Deadbeat,
The Last Poets,
Deutsch Amerikanische Freundschaft,
Slave,
Pierre Henry,
Lower 48,
Nik Kershaw,
The Doobie Brothers,
Derrick Morgan,
The West Coast Pop Art Experimental Band,
E-Dancer,
Soulsonic Force,
Make Up,
Skarface,
The Music Machine,
Röyhkä ja Rättö ja Lehtisalo,
Hardrive,
the Soft Cell,
Lyres,
Bush Tetras,
Teenage Jesus and the Jerks,
Toni Rubio,
Monks,
Grandmaster Flash and the Furious Five,
MC5,
Y Pants,
Agent Orange,
Boz Scaggs,
The Leaves,
Dave Gahan,
Tom Boy,
Easy Going,
Juan Atkins,
ABBA,
Crime,
Henry Cow,
Heavy D & The Boyz,
Marine Girls,
Mandrill,
Super Lover Cee & Casanova Rud,
Television Personalities,
Reuben Wilson,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.