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 Korea South and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Lagos.
I'm losing my edge to the art-school Accra 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 chamberlin 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 JFA to the rock 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 Marshall Jefferson. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Letta Mbulu,
Magma,
Bobby Byrd,
Curtis Mayfield,
The Knickerbockers,
The Mummies,
Jeff Lynne,
Lightning Bolt,
the Association,
ABBA,
The Smiths,
Richard Hell and the Voidoids,
Q and Not U,
Eve St. Jones,
Oblivians,
Derrick May,
Orchestral Manoeuvres in the Dark,
T. Rex,
Drive Like Jehu,
The United States of America,
Lebanon Hanover,
Erasure,
Bronski Beat,
U.S. Maple,
The Velvet Underground,
Notorious Big And Bone Thugs,
Unwound,
Sixth Finger,
Boz Scaggs,
John Foxx,
Y Pants,
Lou Reed & Metallica,
The Smoke,
Banda Bassotti,
Lakeside,
The Misunderstood,
Carl Craig,
Sam Rivers,
Terrestrial Tones,
The Barracudas,
Can,
The Human League,
The Buckinghams,
Piero Umiliani,
The Seeds,
Essential Logic,
Magazine,
John Holt,
Qualms,
Gary Puckett & The Union Gap,
Sight & Sound,
Vladislav Delay,
Major Organ And The Adding Machine,
Quando Quango,
The West Coast Pop Art Experimental Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Masters at Work,
The Skatalites,
These Immortal Souls,
In Retrospect,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.