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 Luxembourg and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Gap Band to the jazz kids.
I played it at the Hacienda.
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 Motorama. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Morten Harket 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Fort Wilson Riot,
the Slits,
Bill Near,
The Pop Group,
Cluster,
Marc Almond,
Jeru the Damaja,
The Neon Judgement,
Roy Ayers Ubiquity,
Howard Jones,
Morten Harket,
Dark Day,
Fugazi,
A Certain Ratio,
Lightning Bolt,
Tommy Roe,
The Mummies,
Eric B and Rakim,
John Cale,
The Grass Roots,
Sight & Sound,
Flamin' Groovies,
Crispian St. Peters,
Amon Düül II,
The Leaves,
Grandmaster Flash and the Furious Five,
Faraquet,
Warsaw,
Louis and Bebe Barron,
The Durutti Column,
Gregory Isaacs,
Shuggie Otis,
Scan 7,
The Happenings,
Lou Reed,
The Vogues,
Technova,
The Cowsills,
Marvin Gaye,
The Toasters,
Gang of Four,
kango's stein massive,
Unwound,
Mary Jane Girls,
DNA,
Mission of Burma,
Sugar Minott,
Barrington Levy,
Traffic Nightmare,
Scratch Acid,
Archie Shepp,
Echospace,
DeepChord presents Echospace,
Robert Wyatt,
Peter & Gordon,
Excepter,
EPMD,
Trumans Water,
Depeche Mode,
T. Rex, T. Rex, T. Rex, T. Rex.
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.