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 Swaziland and from Jakarta.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Lille.
I'm losing my edge to the art-school Mexico City 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 oboe 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 Radio Birdman to the funk 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 Junior Murvin. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes 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?
Masters at Work,
Chris Corsano,
Heaven 17,
The Vogues,
Model 500,
Pere Ubu,
The Mojo Men,
Popol Vuh,
Rotary Connection,
Public Enemy,
Eyeless In Gaza,
Richard Hell and the Voidoids,
MDC,
Wings,
Ponytail,
Khruangbin,
Loose Ends,
The Men They Couldn't Hang,
Super Lover Cee & Casanova Rud,
Glenn Branca,
Letta Mbulu,
Dorothy Ashby,
Jeff Lynne,
Louis and Bebe Barron,
New Order,
The Dead C,
Ice-T,
Jeru the Damaja,
Audionom,
Michelle Simonal,
The Alarm Clocks,
Gil Scott-Heron & Brian Jackson,
Oneida,
Altered Images,
Brick,
Prince Buster,
David Axelrod,
Grandmaster Flash,
Orchestral Manoeuvres in the Dark,
The Shadows of Knight,
Soulsonic Force,
Fugazi,
Peter and Kerry,
Vaughan Mason & Crew,
Kurtis Blow,
Intrusion,
Barclay James Harvest,
Anakelly,
Maleditus Sound,
London Community Gospel Choir,
Jerry's Kids,
Shuggie Otis,
Icehouse,
Urselle,
Kerri Chandler,
Skriet,
Avey Tare & Kría Brekkan,
Spandau Ballet,
Marcia Griffiths,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.