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 Stockholm.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Eurythmics to the techno kids.
I played it at the Crocodile.
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 Das Ding. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Gastr Del Sol record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
The Sonics,
The Fugs,
Henry Cow,
Ken Boothe,
James White and The Blacks,
Pete Rock & C.L. Smooth,
Josef K,
T.S.O.L.,
Bobbi Humphrey,
The Offenders,
Judy Mowatt,
Darondo,
Bobby Sherman,
Warsaw,
Louis and Bebe Barron,
The Mojo Men,
Jeff Lynne,
48th St. Collective,
E-Dancer,
The Divine Comedy,
H. Thieme,
John Lydon,
Scott Walker + Sunn O))),
Electric Prunes,
Siouxsie and the Banshees,
Jacques Brel,
Gang of Four,
Gary Puckett & The Union Gap,
Alphaville,
Fad Gadget,
Minny Pops,
The West Coast Pop Art Experimental Band,
Popol Vuh,
Aloha Tigers,
Heaven 17,
Scion,
EPMD,
London Community Gospel Choir,
The Angels of Light,
Crispy Ambulance,
Au Pairs,
Chris & Cosey,
Index,
AZ,
Aaron Thompson,
Hoover,
Peter and Kerry,
Scan 7,
Idris Muhammad,
Nico,
Scientists,
The Fuzztones,
Fat Boys,
The Pop Group,
ABC,
Wire,
Underground Resistance,
Glambeats Corp.,
Leonard Cohen,
Röyhkä ja Rättö ja Lehtisalo,
Swans,
China Crisis,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.