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 Peru and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Cowsills to the jazz 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 Motorama. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Scratch Acid 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Ultramagnetic MC's,
James Chance & The Contortions,
Yusef Lateef,
Deepchord,
Don Cherry,
Slave,
Arab on Radar,
the Fania All-Stars,
Roy Ayers Ubiquity,
Arthur Verocai,
The Smiths,
Wire,
Bizarre Inc.,
Quantec,
Magazine,
Marshall Jefferson,
The Associates,
Morten Harket,
Jesper Dahlback,
Erasure,
Throbbing Gristle,
Ronnie Foster,
the Human League,
Mark Hollis,
the Normal,
The Black Dice,
Amon Düül,
Iggy Pop,
Albert Ayler,
Cal Tjader,
Delon & Dalcan,
Radiohead,
The Kinks,
Ossler,
Parry Music,
Barbara Tucker,
Make Up,
Hot Snakes,
June of 44,
Bush Tetras,
Zero Boys,
The Doors,
Outsiders,
The Saints,
Altered Images,
Moby Grape,
The Moody Blues,
John Holt,
Duran Duran,
Mad Mike,
Man Parrish,
Dawn Penn,
Jesper Dahlbäck,
ABC,
The Young Rascals,
New York Dolls,
The Standells,
Eurythmics,
Curtis Mayfield,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.