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 Venezuela and from New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Toronto 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 1976 at the first Chic practice in a loft in New York.
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 Heavy D & The Boyz to the grunge kids.
I played it at Trash.
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 Stereo Dub. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
48th St. Collective,
Super Lover Cee & Casanova Rud,
Lucky Dragons,
Flamin' Groovies,
Eric Copeland,
Severed Heads,
Roy Ayers Ubiquity,
Bauhaus,
Pulsallama,
Cabaret Voltaire,
Chrome,
Chris & Cosey,
Rakim,
Fear,
Model 500,
Bang on a Can All-Stars,
Nation of Ulysses,
Nik Kershaw,
Cluster,
The Durutti Column,
The Neon Judgement,
The Dirtbombs,
Pagans,
The Beau Brummels,
Strawberry Alarm Clock,
Iggy Pop,
Piero Umiliani,
Make Up,
Matthew Bourne,
The Blues Magoos,
The American Breed,
Aural Exciters,
Juan Atkins,
Curtis Mayfield,
The West Coast Pop Art Experimental Band,
The Gap Band,
Das Ding,
Ajijia Myrayebe,
The Pop Group,
Graham Central Station,
Oneida,
Crispian St. Peters,
Guru Guru,
The Smiths,
Porter Ricks,
Rites of Spring,
The Mighty Diamonds,
Dorothy Ashby,
Blancmange,
Can,
The Divine Comedy,
Altered Images,
Arab on Radar,
the Soft Cell,
Lightning Bolt,
Cheater Slicks,
the Normal,
Scott Walker + Sunn O))),
Charles Mingus,
The Gories,
Byron Stingily,
Judy Mowatt,
Pole, Pole, Pole, Pole.
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.