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 Croatia and from Salvador.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Paris and Lille.
I'm losing my edge to the art-school London 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the marimba 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 Ice-T to the disco 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 Delon & Dalcan. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Patti Smith 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 '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Aural Exciters,
Rowland S Howard / Lydia Lunch,
Public Image Ltd.,
Henry Cow,
The Gories,
Johnny Clarke,
Lucky Dragons,
The Mighty Diamonds,
Public Enemy,
Newcleus,
Bobby Womack,
Smog,
Darondo,
Eve St. Jones,
Matthew Halsall,
Sixth Finger,
Kevin Saunderson,
T.S.O.L.,
Mad Mike,
Judy Mowatt,
Wire,
Charles Mingus,
Man Parrish,
Lonnie Liston Smith,
Rufus Thomas,
Lou Reed & Metallica,
Juan Atkins,
Stereo Dub,
Pagans,
Bush Tetras,
Visage,
Soulsonic Force,
the Germs,
Soft Machine,
Tommy Roe,
Index,
Jacques Brel,
The Last Poets,
The Doors,
The Litter,
The Walker Brothers,
Harry Pussy,
Sunsets and Hearts,
Radio Birdman,
The Monochrome Set,
Parry Music,
Maleditus Sound,
Ornette Coleman,
Quadrant,
Captain Beefheart & His Magic Band,
The Trojans,
Neil Young,
Art Ensemble Of Chicago,
Gastr Del Sol,
Bobby Byrd,
The Remains,
Donny Hathaway,
Cabaret Voltaire,
Davy DMX,
Joe Smooth,
The Buckinghams,
The American Breed, The American Breed, The American Breed, The American Breed.
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.