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 Ethiopia and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Paris 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb 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 Frankie Knuckles to the rap kids.
I played it at CBGB's.
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 Zero Boys. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Interpol,
Technova,
Roy Ayers Ubiquity,
EPMD,
Kauko Röyhkä ja Narttu,
The West Coast Pop Art Experimental Band,
Faust,
Sound Behaviour,
Thinking Fellers Union Local 282,
The Monks,
Echospace,
Derrick May,
Barry Ungar,
Goldenarms,
Barbara Tucker,
The Cure,
The Move,
Vainqueur,
K-Klass,
Gastr Del Sol,
Kurtis Blow,
Pulsallama,
Ponytail,
Fugazi,
Eddi Front,
Tomorrow,
Andrew Hill,
Scott Walker,
Index,
Deepchord,
48th St. Collective,
Minny Pops,
Lucky Dragons,
Glambeats Corp.,
Inner City,
The Blues Magoos,
Grandmaster Flash and the Furious Five,
Subhumans,
Bill Near,
David Axelrod,
Bang On A Can,
Avey Tare & Kría Brekkan,
Marine Girls,
Drexciya,
MDC,
Swell Maps,
The Durutti Column,
Maleditus Sound,
The Leaves,
UT,
The Tremeloes,
Tommy Roe,
The Divine Comedy,
Spandau Ballet,
Roger Hodgson,
Rakim,
Ohio Players,
Ten City,
Soul II Soul,
Al Stewart,
Boredoms,
Traffic Nightmare,
Yaz,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.