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 Mozambique and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1970.
I'm losing my edge.
To all the kids in Manila and Portland.
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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Ituana to the punk kids.
I played it at Cafe Wha.
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 Alarm Clocks. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Tropical Tobacco 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Fort Wilson Riot,
Hashim,
Lafayette Afro Rock Band,
The Star Department,
Man Eating Sloth,
Richard Hell and the Voidoids,
Liliput,
Mary Jane Girls,
The Doors,
Easy Going,
the Sonics,
Fela Kuti,
Susan Cadogan,
The Black Dice,
The West Coast Pop Art Experimental Band,
Andrew Hill,
Negative Approach,
The Litter,
Brass Construction,
Hoover,
The Sound,
Ronnie Foster,
Spoonie Gee,
Theoretical Girls,
Judy Mowatt,
Half Japanese,
Frankie Knuckles,
Lou Reed & John Cale,
Dorothy Ashby,
Joe Finger,
The Gories,
Jesper Dahlback,
The Motions,
Mandrill,
Iggy Pop,
Quadrant,
Cabaret Voltaire,
Angels of Light & Akron/Family,
The Peanut Butter Conspiracy,
The Standells,
Monks,
Reuben Wilson,
Boredoms,
The Human League,
Excepter,
Black Sheep,
Y Pants,
Grandmaster Flash,
the Slits,
Q and Not U,
Das Ding,
Nick Fraelich,
Bootsy's Rubber Band,
Manfred Mann's Earth Band,
Schoolly D,
Donald Byrd,
B.T. Express,
John Coltrane,
Peter and Kerry,
Soulsonic Force,
Accadde A,
JFA, JFA, JFA, JFA.
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.