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 Switzerland and from Manila.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Taipei and Beijing.
I'm losing my edge to the art-school Portland 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 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 Deadbeat to the funk kids.
I played it at Trash.
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 Lou Christie. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Kango’s Stein Massive,
Danielle Patucci,
Franke,
Pere Ubu,
Heaven 17,
Aural Exciters,
B.T. Express,
London Community Gospel Choir,
The Martian,
The Electric Prunes,
Pagans,
Ultimate Spinach,
Piero Umiliani,
Smog,
The Detroit Cobras,
The Monks,
The Fortunes,
Monolake,
Depeche Mode,
The Leaves,
Skaos,
Soulsonic Force,
The Toasters,
JFA,
This Heat,
H. Thieme,
Eden Ahbez,
Tom Boy,
Skriet,
The Wake,
James Chance & The Contortions,
Darondo,
Mantronix,
Rod Modell,
Organ,
The Birthday Party,
Procol Harum,
Bob Dylan,
Oneida,
Zapp,
Second Layer,
The Divine Comedy,
Deutsch Amerikanische Freundschaft,
Roxette,
The Velvet Underground,
X-102,
Prince Buster,
Rahsaan Roland Kirk,
the Normal,
Matthew Bourne,
Subhumans,
Reuben Wilson,
Fela Kuti,
Ajijia Myrayebe,
Section 25,
The Gap Band,
China Crisis,
Gary Puckett & The Union Gap,
The American Breed,
The Angels of Light,
Nik Kershaw,
Rapeman, Rapeman, Rapeman, Rapeman.
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.