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 Ireland 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 1960 to 1974.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Edmonton 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 rhodes sounds with much patience.
I was there when David Bowie 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 The Blues Magoos to the funk kids.
I played it at the Troubador.
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 Kurtis Blow. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Gong 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erykah Badu,
Hoover,
Reuben Wilson,
The Neon Judgement,
Circle Jerks,
Marvin Gaye,
Japan,
The Electric Prunes,
The Doors,
The Happenings,
Delon & Dalcan,
Warsaw,
Sad Lovers and Giants,
Lucky Dragons,
Röyhkä ja Rättö ja Lehtisalo,
Black Flag,
Yazoo,
Barrington Levy,
Adolescents,
The Smoke,
Siouxsie and the Banshees,
Rhythim Is Rhythim,
Oppenheimer Analysis,
Royal Trux,
Goldenarms,
Altered Images,
Sugar Minott,
Television Personalities,
Hot Snakes,
The Raincoats,
Gang Gang Dance,
The Pretty Things,
Gil Scott Heron,
Soft Machine,
China Crisis,
a-ha,
Tomorrow,
The Fall,
Oneida,
Jacques Brel,
Kurtis Blow,
Max Romeo,
Eric Dolphy,
Sly & The Family Stone,
Susan Cadogan,
Avey Tare & Kría Brekkan,
U.S. Maple,
Juan Atkins,
Vladislav Delay,
Scratch Acid,
Little Man,
Mo-Dettes,
Brand Nubian,
Fela Kuti,
The Cramps,
Pierre Henry,
Main Source,
Pharoah Sanders,
Judy Mowatt,
Tommy Roe,
Kerri Chandler,
Girls At Our Best!,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.