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 Manchester.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Jakarta 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 1983 at the first Lewis practice in a loft in Vancouver.
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 ABBA to the electroclash 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 The Grass Roots. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Fat Boys record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Skarface,
Pulsallama,
Average White Band,
Gil Scott Heron,
Boredoms,
Wire,
Severed Heads,
Tropical Tobacco,
Lungfish,
The Cramps,
Black Pus,
Nils Olav,
Henry Cow,
Soul II Soul,
Jimmy McGriff,
Los Fastidios,
Johnny Osbourne,
The United States of America,
Masters at Work,
Bill Wells,
Basic Channel,
DNA,
Marmalade,
Lindisfarne,
The Cowsills,
The Saints,
Al Stewart,
Bobbi Humphrey,
Second Layer,
Josef K,
Ultramagnetic MC's,
Marvin Gaye,
Andrew Ashong & Theo Parrish,
PIL,
The Golliwogs,
Throbbing Gristle,
Suburban Knight,
Stiv Bators,
Country Teasers,
Thompson Twins,
E-Dancer,
Monolake,
The Shadows of Knight,
Technova,
The Grass Roots,
Frankie Knuckles,
The Gun Club,
the Human League,
Graham Central Station,
Shuggie Otis,
Liaisons Dangereuses,
Sam Rivers,
Lucky Dragons,
Bobby Byrd,
Leonard Cohen,
Alton Ellis,
Grauzone,
Black Moon,
Orchestral Manoeuvres in the Dark,
Judy Mowatt,
Bobby Womack,
Metal Thangz,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.