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 Costa Rica and from Manchester.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Calgary 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 Ubu practice in a loft in Cleveland.
I was working on the arpeggiator 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 Das Ding to the funk kids.
I played it at the Troubador.
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 Black Sheep. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal dance 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Pete Rock & C.L. Smooth,
John Lydon,
Sandy B,
Jeff Lynne,
Max Romeo,
Danielle Patucci,
Lonnie Liston Smith,
David Bowie,
Marine Girls,
Neil Young & Crazy Horse,
The Monochrome Set,
Traffic Nightmare,
Terrestrial Tones,
Pantytec,
Glambeats Corp.,
Sonny Sharrock,
Kurtis Blow,
Warsaw,
Siouxsie and the Banshees,
Rites of Spring,
Cabaret Voltaire,
The Fuzztones,
Jerry Gold Smith,
X-101,
Kango’s Stein Massive,
Drexciya,
Lalann,
Jawbox,
Be Bop Deluxe,
Au Pairs,
Sam Rivers,
China Crisis,
F. McDonald,
The Star Department,
Marmalade,
Juan Atkins,
R.M.O.,
Red Lorry Yellow Lorry,
OOIOO,
Spandau Ballet,
Nik Kershaw,
Hasil Adkins,
The Cramps,
The Human League,
Sunsets and Hearts,
Youth Brigade,
The Detroit Cobras,
Fifty Foot Hose,
Camberwell Now,
Mandrill,
cv313,
Rapeman,
Thee Headcoats,
Jacob Miller,
Teenage Jesus and the Jerks,
The Moleskins,
JFA,
Delta 5, Delta 5, Delta 5, Delta 5.
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.