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 Equatorial Guinea and from Johannesburg.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school Bremen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Pantytec to the rock kids.
I played it at Cafe Wha.
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 F. McDonald. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal disco 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Lou Reed & John Cale,
Babytalk,
the Swans,
Radiohead,
Echo & the Bunnymen,
The Mighty Diamonds,
Hot Snakes,
Frankie Knuckles,
The Blues Magoos,
Eric Dolphy,
Gil Scott Heron,
Nils Olav,
The Skatalites,
Severed Heads,
The Offenders,
The Smiths,
Ice-T,
Ituana,
Man Parrish,
10cc,
Joyce Sims,
Juan Atkins,
Brand Nubian,
The Velvet Underground,
Al Stewart,
Kauko Röyhkä ja Narttu,
R.M.O.,
Lonnie Liston Smith,
Young Marble Giants,
The Cure,
Jeru the Damaja,
Kaleidoscope,
Todd Terry,
Section 25,
Das Ding,
John Cale,
Pantytec,
Warren Ellis,
CMW,
Underground Resistance,
These Immortal Souls,
Maleditus Sound,
Charles Mingus,
JFA,
Hasil Adkins,
Tom Boy,
Motorama,
Quantec,
Sexual Harrassment,
Fear,
Kayak,
Patti Smith,
The Fall,
Neil Young & Crazy Horse,
Eve St. Jones,
Desert Stars,
The Smoke,
Deadbeat,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.