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 Algeria and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Columbus 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Pretty Things to the grime 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 It's A Beautiful Day. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Deakin 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 '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
The Dead C,
Maleditus Sound,
Niagra,
Major Organ And The Adding Machine,
Kevin Saunderson,
Lou Reed & John Cale,
Blossom Toes,
Man Eating Sloth,
Rapeman,
Arab on Radar,
Joensuu 1685,
The Martian,
Arthur Verocai,
Unrelated Segments,
Excepter,
Section 25,
In Retrospect,
Johnny Clarke,
The Gap Band,
Metal Thangz,
the Soft Cell,
Flash Fearless,
Duran Duran,
Fela Kuti,
Mantronix,
The Golliwogs,
Rotary Connection,
John Cale,
Public Enemy,
Gil Scott Heron,
Whodini,
Sexual Harrassment,
Scott Walker,
the Swans,
Grey Daturas,
Crime,
Bobby Byrd,
The Motions,
Warsaw,
Model 500,
The West Coast Pop Art Experimental Band,
Janne Schatter,
the Germs,
Soul Sonic Force,
The Slackers,
Crispy Ambulance,
Cameo,
Dead Boys,
Cal Tjader,
Black Bananas,
The Seeds,
Interpol,
John Lydon,
Country Joe & The Fish,
Public Image Ltd.,
Alison Limerick,
Brand Nubian,
JFA,
The Tremeloes,
Justin Hinds & The Dominoes,
Sun Ra Arkestra,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.