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 Solomon Islands and from Shanghai.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
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 1977 at the first Zapp practice in a loft in Hamilton.
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 Nik Kershaw to the crunk 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 Stockholm Monsters. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every World's Most 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 a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Deepchord,
Boogie Down Productions,
The Blues Magoos,
Khruangbin,
Heavy D & The Boyz,
Sound Behaviour,
Aswad,
Lou Christie,
Swell Maps,
The Gap Band,
Terrestrial Tones,
Soulsonic Force,
James White and The Blacks,
Stiv Bators,
Young Marble Giants,
Pantytec,
Maurizio,
Rites of Spring,
Bill Near,
Notorious BIG live in Amsterdam,
Technova,
Echo & the Bunnymen,
Scion,
Erasure,
Byron Stingily,
Alphaville,
Hasil Adkins,
Juan Atkins,
Lungfish,
Dual Sessions,
Interpol,
Desert Stars,
Television,
Lonnie Liston Smith,
Main Source,
Lindisfarne,
David McCallum,
New Age Steppers,
Brick,
Danielle Patucci,
Panda Bear,
Rod Modell,
Big Daddy Kane,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Prince Buster,
Infiniti,
Janne Schatter,
Easy Going,
Cecil Taylor,
Index,
EPMD,
Camberwell Now,
Fela Kuti,
Minny Pops,
The Evens,
Pylon,
Laurel Aitken,
Adolescents,
Wings,
Royal Trux,
The Happenings, The Happenings, The Happenings, The Happenings.
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.