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 Djibouti and from Tehran.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Ossler to the rap kids.
I played it at the Astoria.
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 Oppenheimer Analysis. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Grandmaster Flash and the Furious Five,
Section 25,
Joy Division,
Marshall Jefferson,
Drive Like Jehu,
In Retrospect,
The Five Americans,
Selector Dub Narcotic,
The Divine Comedy,
Lalo Schifrin,
Sunsets and Hearts,
Oneida,
Mark Hollis,
The West Coast Pop Art Experimental Band,
Derrick May,
Ash Ra Tempel,
Joe Finger,
Intrusion,
Black Pus,
Amon Düül II,
FM Einheit,
Colin Newman,
Jesper Dahlback,
Skaos,
Rapeman,
X-102,
the Sonics,
Sly & The Family Stone,
Saccharine Trust,
Rhythm & Sound,
Minor Threat,
Red Lorry Yellow Lorry,
David McCallum,
Gang of Four,
Lindisfarne,
Sparks,
Alison Limerick,
The Dead C,
Altered Images,
Scott Walker + Sunn O))),
Gian Franco Pienzio,
Roy Ayers Ubiquity,
The Mummies,
The Offenders,
Blossom Toes,
Piero Umiliani,
The Men They Couldn't Hang,
The Standells,
Scott Walker,
Half Japanese,
Isaac Hayes,
Roy Ayers,
These Immortal Souls,
The Gap Band,
Kauko Röyhkä ja Narttu,
DNA,
Davy DMX,
Main Source,
Heavy D & The Boyz,
DJ Style,
Parry Music, Parry Music, Parry Music, Parry Music.
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.