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 Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 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 The Stooges to the jazz 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 Fluxion. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Barbara Tucker 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Sparks,
Eyeless In Gaza,
Jeff Lynne,
Radio Birdman,
Brick,
Crime,
Camouflage,
Black Moon,
Ponytail,
Don Cherry,
Young Marble Giants,
Jacob Miller,
Stereo Dub,
Jerry's Kids,
Big Daddy Kane,
Nik Kershaw,
Organ,
Vladislav Delay,
Popol Vuh,
Terrestrial Tones,
June Days,
Dorothy Ashby,
Harmonia,
Clear Light,
Cabaret Voltaire,
Darondo,
Drexciya,
Altered Images,
Man Parrish,
Idris Muhammad,
Nation of Ulysses,
Kurtis Blow,
Sonny Sharrock,
Interpol,
Cal Tjader,
Red Lorry Yellow Lorry,
Wasted Youth,
Thompson Twins,
Animal Collective,
Larry & the Blue Notes,
Kool G Rap & DJ Polo,
The Sisters of Mercy,
David Axelrod,
The Gun Club,
Amon Düül,
Faraquet,
Beasts of Bourbon,
Siglo XX,
Sällskapet,
Orchestral Manoeuvres in the Dark,
Oblivians,
Roy Ayers Ubiquity,
June of 44,
Erasure,
The Remains,
Bush Tetras,
Soft Machine,
Byron Stingily,
Y Pants,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.