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 Ivory Coast and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 sitar 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 Eric B and Rakim to the dance kids.
I played it at the Hacienda.
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 Gabor Szabo. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Joensuu 1685 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
DJ Style,
Darondo,
Mad Mike,
Drexciya,
Ten City,
Babytalk,
Bill Wells,
Cymande,
Orchestral Manoeuvres in the Dark,
Minor Threat,
Duran Duran,
ABC,
Alice Coltrane,
The Victims,
A Certain Ratio,
Rod Modell,
The Techniques,
The Count Five,
Desert Stars,
FM Einheit,
Supertramp,
The Beau Brummels,
Johnny Osbourne,
the Germs,
Lower 48,
Television,
Second Layer,
Ultravox,
Simply Red,
Junior Murvin,
Massinfluence,
Josef K,
The Birthday Party,
Monks,
KRS-One,
Nik Kershaw,
Quando Quango,
Harmonia,
Marine Girls,
Tim Buckley,
Ken Boothe,
The Knickerbockers,
Minnie Riperton,
Altered Images,
Can,
Roy Ayers,
Au Pairs,
Glenn Branca,
Lizzy Mercier Descloux,
cv313,
Sight & Sound,
Michelle Simonal,
Trumans Water,
James White and The Blacks,
The Standells,
The Skatalites,
Schoolly D,
Ponytail, Ponytail, Ponytail, Ponytail.
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.