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 Tunisia and from Tokyo.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Men They Couldn't Hang to the jazz 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 Country Joe & The Fish. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin 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 guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Techniques,
Johnny Osbourne,
Amazonics,
Negative Approach,
World's Most,
Bobby Hutcherson,
Saccharine Trust,
kango's stein massive,
Lakeside,
Bauhaus,
Livin' Joy,
Neil Young & Crazy Horse,
the Slits,
Sexual Harrassment,
The Smoke,
Dark Day,
Brand Nubian,
A Certain Ratio,
Outsiders,
Audionom,
Rufus Thomas,
The Victims,
The Fortunes,
Sparks,
Tres Demented,
Flamin' Groovies,
Alton Ellis,
Heavy D & The Boyz,
Underground Resistance,
Sam Rivers,
Spandau Ballet,
Little Man,
Technova,
Stetsasonic,
Flash Fearless,
Sixth Finger,
Agitation Free,
Fela Kuti,
Soft Cell,
This Heat,
James Chance & The Contortions,
Harmonia,
Beasts of Bourbon,
Avey Tare,
Eli Mardock,
Stockholm Monsters,
The Flesh Eaters,
Lou Reed,
T. Rex,
Janne Schatter,
Swell Maps,
Chris Corsano,
The Birthday Party,
CMW,
Eric B and Rakim,
The Gap Band,
The New Christs,
Ash Ra Tempel,
The Men They Couldn't Hang,
The Neon Judgement,
Mission of Burma,
JFA, JFA, JFA, JFA.
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.