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 South Sudan and from Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1974.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Seoul 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 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 Ohio Players to the grime kids.
I played it at the Astoria.
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 Angry Samoans. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Bobby Byrd,
Cecil Taylor,
Byron Stingily,
Terrestrial Tones,
Donald Byrd,
Liaisons Dangereuses,
Sam Rivers,
La Düsseldorf,
Davy DMX,
Black Moon,
the Sonics,
Ultramagnetic MC's,
Roy Ayers Ubiquity,
Eurythmics,
The Victims,
This Heat,
The Kinks,
Kas Product,
The Skatalites,
Kauko Röyhkä ja Narttu,
the Bar-Kays,
Massinfluence,
The United States of America,
Ronnie Foster,
Crispian St. Peters,
Tomorrow,
Babytalk,
Minor Threat,
Pantytec,
Absolute Body Control,
Girls At Our Best!,
Al Stewart,
X-102,
Captain Beefheart & His Magic Band,
The Human League,
The Alarm Clocks,
Peter Gordon & Love of Life Orchestra,
Pierre Henry,
Arab on Radar,
Blossom Toes,
T. Rex,
Henry Cow,
Anakelly,
John Foxx,
Gabor Szabo,
Sällskapet,
The Birthday Party,
Rotary Connection,
The Durutti Column,
Pharoah Sanders,
Sonic Youth,
Jimmy McGriff,
Althea and Donna,
DJ Sneak,
The Invisible,
Cluster,
The Cure,
The Beau Brummels,
Freddie Wadling,
The Slits,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.