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 Burundi and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1971.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Manila 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 arpeggiator 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 Rahsaan Roland Kirk to the jazz kids.
I played it at the 40 Watt.
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 Loose Ends. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Alton Ellis 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 '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Derrick May,
Niagra,
Alice Coltrane,
Cabaret Voltaire,
Flipper,
Eddi Front,
Animal Collective,
Zapp,
Rosa Yemen,
Hasil Adkins,
Oneida,
FM Einheit,
Mr. Review,
Q and Not U,
Dennis Brown,
Roxy Music,
Qualms,
Interpol,
Wally Richardson,
Judy Mowatt,
Lou Christie,
Nirvana,
Negative Approach,
Lalann,
Reagan Youth,
Theoretical Girls,
Dead Boys,
Soft Cell,
Lucky Dragons,
Kurtis Blow,
Barclay James Harvest,
Magazine,
The Victims,
Glambeats Corp.,
The Sonics,
Fela Kuti,
8 Eyed Spy,
Ajijia Myrayebe,
Agent Orange,
F. McDonald,
Clear Light,
Siouxsie and the Banshees,
The Monochrome Set,
Johnny Clarke,
B.T. Express,
Johnny Osbourne,
Scion,
The Pop Group,
Kool G Rap & DJ Polo,
Terry Callier,
The Blues Magoos,
Bad Manners,
Scratch Acid,
Reuben Wilson,
The Angels of Light,
Bronski Beat,
Wire,
Desert Stars,
Royal Trux,
Procol Harum,
Kenny Larkin,
Mo-Dettes,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.