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 Belgium and from Halifax.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Jakarta 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer 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 Anakelly to the disco 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 The Standells. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal grime 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Maleditus Sound,
Harpers Bizarre,
James Chance & The Contortions,
Major Organ And The Adding Machine,
Soul Sonic Force,
The Last Poets,
Avey Tare,
X-102,
Flash Fearless,
Crispian St. Peters,
Eli Mardock,
Fluxion,
These Immortal Souls,
Danielle Patucci,
Robert Görl,
Spoonie Gee,
David Axelrod,
the Fania All-Stars,
Negative Approach,
Ralphi Rosario,
Orchestral Manoeuvres in the Dark,
Shoche,
Amon Düül,
Lightning Bolt,
Deadbeat,
Das Ding,
Strawberry Alarm Clock,
T.S.O.L.,
Aural Exciters,
Cameo,
Jerry Gold Smith,
The Men They Couldn't Hang,
Unrelated Segments,
Urselle,
The Fugs,
X-101,
Johnny Clarke,
Sad Lovers and Giants,
Scion,
Archie Shepp,
Flamin' Groovies,
Bad Manners,
The Dead C,
Half Japanese,
The Velvet Underground,
The Golliwogs,
Skaos,
Monolake,
Skarface,
Saccharine Trust,
The Searchers,
Jeff Mills,
Cluster,
The Dave Clark Five,
Sugar Minott,
Aaron Thompson,
Oppenheimer Analysis,
E-Dancer,
Buzzcocks,
Jacques Brel,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.