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 Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Accra 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 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 Marcia Griffiths to the crunk 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 The Mighty Diamonds. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Radiopuhelimet,
Avey Tare,
The Gun Club,
Barry Ungar,
Orchestral Manoeuvres in the Dark,
Cheater Slicks,
The Gories,
The Jesus and Mary Chain,
Drive Like Jehu,
Scan 7,
The Music Machine,
Barclay James Harvest,
Strawberry Alarm Clock,
DNA,
Supertramp,
Hardrive,
Faust,
Camron Feat. Jay Z And Juelz,
Depeche Mode,
Altered Images,
Ronan,
Alison Limerick,
Half Japanese,
Thompson Twins,
Outsiders,
Cameo,
Barrington Levy,
Sad Lovers and Giants,
Index,
Liaisons Dangereuses,
Eve St. Jones,
Drexciya,
Porter Ricks,
Frankie Knuckles,
F. McDonald,
Gil Scott-Heron and Jamie xx,
Robert Hood,
Man Parrish,
The Mummies,
Lou Reed,
This Heat,
Mission of Burma,
The Smiths,
Kool Moe Dee,
Flipper,
Graham Central Station,
Visage,
Yaz,
Selector Dub Narcotic,
Alice Coltrane,
The Modern Lovers,
Soft Cell,
Ronnie Foster,
Darondo,
Laurel Aitken,
Grandmaster Flash and the Furious Five,
Magazine,
Dual Sessions,
the Bar-Kays,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.