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 Lyon.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Tehran 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 808 sounds with much patience.
I was there when Robert Palmer 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 Idris Muhammad to the dance kids.
I played it at the Spitz.
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 Matthew Bourne. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Sonny Sharrock 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Man Parrish,
The Tremeloes,
Mad Mike,
Warren Ellis,
The United States of America,
Piero Umiliani,
Ohio Players,
The Selecter,
Lalann,
Ajijia Myrayebe,
Groovy Waters,
Cecil Taylor,
Byron Stingily,
Joy Division,
Heavy D & The Boyz,
Jimmy McGriff,
The Jesus and Mary Chain,
Blancmange,
Sound Behaviour,
Maurizio,
Con Funk Shun,
The Residents,
Hashim,
Wings,
Yazoo,
Harmonia,
Sarah Menescal,
Smog,
Max Romeo,
The Detroit Cobras,
Tommy Roe,
The Beau Brummels,
Danielle Patucci,
Aaron Thompson,
The Peanut Butter Conspiracy,
New Age Steppers,
The Men They Couldn't Hang,
Josef K,
The Fire Engines,
Marshall Jefferson,
Scientists,
The Human League,
Eli Mardock,
E-Dancer,
Pere Ubu,
Rosa Yemen,
Electric Prunes,
Michelle Simonal,
Aswad,
UT,
Duran Duran,
Dennis Brown,
Rites of Spring,
A Flock of Seagulls,
Slick Rick,
Whodini,
Qualms,
Graham Central Station,
Dual Sessions,
The Sisters of Mercy,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.