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 Ukraine and from Stockholm.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Hong Kong 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the marimba 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 Brass Construction to the disco kids.
I played it at the Roxy.
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 Dead Boys. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Matthew Bourne,
Don Cherry,
Kenny Larkin,
Andrew Ashong & Theo Parrish,
The Slackers,
Idris Muhammad,
Stereo Dub,
Negative Approach,
La Düsseldorf,
Faust,
Eve St. Jones,
Bobby Womack,
Joy Division,
Echospace,
Erasure,
Lightning Bolt,
Avey Tare & Kría Brekkan,
Super Lover Cee & Casanova Rud,
Justin Hinds & The Dominoes,
Scratch Acid,
Hardrive,
Accadde A,
Massinfluence,
Maurizio,
The Trojans,
B.T. Express,
The Busters,
Deadbeat,
48th St. Collective,
Gang of Four,
Rufus Thomas,
Yusef Lateef,
FM Einheit,
Sarah Menescal,
Pierre Henry,
JFA,
The Music Machine,
Maleditus Sound,
Country Teasers,
Quando Quango,
Frankie Knuckles,
Rhythm & Sound,
Todd Terry,
Lebanon Hanover,
Can,
X-102,
Robert Hood,
The Chocolate Watch Band,
Groovy Waters,
Trumans Water,
Ajijia Myrayebe,
The Blues Magoos,
The Mighty Diamonds,
Newcleus,
Public Image Ltd.,
Wolf Eyes,
The Human League,
Avey Tare's Slasher Flicks,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.