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 Ghana and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school New York 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 N.O.R.E. Featuring Pharrell to the dance kids.
I played it at Cafe Wha.
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 Associates. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Gang Starr,
Michelle Simonal,
The Victims,
Gil Scott-Heron & Brian Jackson,
Symarip,
Marmalade,
The Modern Lovers,
Jerry Gold Smith,
A Certain Ratio,
Archie Shepp,
Mark Hollis,
Crooked Eye,
Thee Headcoats,
Soul Sonic Force,
Art Ensemble Of Chicago,
Sällskapet,
Qualms,
Laurel Aitken,
Aaron Thompson,
Jesper Dahlback,
Supertramp,
U.S. Maple,
Dead Boys,
Bauhaus,
Crispy Ambulance,
Bobbi Humphrey,
Lalann,
The Real Kids,
Joy Division,
the Slits,
The New Christs,
Graham Central Station,
Q65,
Excepter,
James Chance & The Contortions,
X-101,
Gabor Szabo,
Anthony Braxton,
Derrick Morgan,
DeepChord presents Echospace,
Todd Terry,
Funkadelic,
The Doobie Brothers,
Grey Daturas,
Jeff Mills,
Darondo,
Bronski Beat,
FM Einheit,
Letta Mbulu,
Minor Threat,
Black Sheep,
Los Fastidios,
Cymande,
The Kinks,
Mantronix,
CMW,
Avey Tare's Slasher Flicks,
Young Marble Giants,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.