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 Zimbabwe and from Bremen.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Notorious BIG live in Amsterdam to the jazz 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 Technova. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Sight & Sound,
The Kinks,
Black Pus,
Moby Grape,
Bobby Hutcherson,
La Düsseldorf,
The Fire Engines,
The Remains,
Tres Demented,
Letta Mbulu,
Kevin Saunderson,
Selector Dub Narcotic,
Marine Girls,
Kurtis Blow,
Lalann,
the Soft Cell,
Mary Jane Girls,
The Happenings,
Ornette Coleman,
Jerry's Kids,
Susan Cadogan,
Pantytec,
World's Most,
Curtis Mayfield,
Angels of Light & Akron/Family,
Yellowson,
Manfred Mann's Earth Band,
the Normal,
Sixth Finger,
Eric Copeland,
E-Dancer,
Bobbi Humphrey,
Lebanon Hanover,
Jeru the Damaja,
The Buckinghams,
The Monks,
Lou Reed,
Soul Sonic Force,
The Moleskins,
AZ,
Sun Ra Arkestra,
Model 500,
Smog,
Kool Moe Dee,
Deadbeat,
Pere Ubu,
Dark Day,
Underground Resistance,
Gil Scott Heron,
The Peanut Butter Conspiracy,
Eric B and Rakim,
John Lydon,
Porter Ricks,
The Durutti Column,
Fifty Foot Hose,
Theoretical Girls,
Vaughan Mason & Crew,
The Offenders,
Avey Tare & Kría Brekkan,
Basic Channel,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.