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 Korea North and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 The Fortunes to the dance 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 Minnie Riperton. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every the Association 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 '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Electric Light Orchestra,
Bad Manners,
Cheater Slicks,
Gil Scott Heron,
U.S. Maple,
Au Pairs,
Lungfish,
Big Daddy Kane,
The Toasters,
Thinking Fellers Union Local 282,
The New Christs,
Model 500,
Joy Division,
The Vogues,
John Holt,
Scott Walker + Sunn O))),
Parry Music,
Minor Threat,
Little Man,
Warren Ellis,
Bauhaus,
Radiohead,
the Normal,
Index,
Anthony Braxton,
Bobby Hutcherson,
Arthur Verocai,
Circle Jerks,
Roy Ayers,
Neil Young & Crazy Horse,
X-102,
L. Decosne,
Arab on Radar,
Anakelly,
Vaughan Mason & Crew,
Brass Construction,
Stockholm Monsters,
Fela Kuti,
Flipper,
Negative Approach,
Art Ensemble Of Chicago,
Pussy Galore,
Steve Hackett,
Matthew Bourne,
Jacques Brel,
Funky Four + One,
David McCallum,
The Evens,
DJ Sneak,
Jesper Dahlback,
KRS-One,
OOIOO,
DJ Style,
Terry Callier,
Deutsch Amerikanische Freundschaft,
Joe Smooth,
Angels of Light & Akron/Family,
The Tremeloes,
Angry Samoans,
Average White Band,
Second Layer,
Rhythm & Sound,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.