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 Kyrgyzstan and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1963 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Mumbai 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 The Leaves to the dance 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 Arab on Radar. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Television,
Grey Daturas,
Godley & Creme,
Scott Walker,
Orchestral Manoeuvres in the Dark,
Danielle Patucci,
Slave,
Quantec,
Grandmaster Flash and the Furious Five,
Spoonie Gee,
The Cowsills,
Larry & the Blue Notes,
Piero Umiliani,
Lee Hazlewood,
Icehouse,
Scrapy,
Bauhaus,
DeepChord presents Echospace,
Soulsonic Force,
Judy Mowatt,
The Flesh Eaters,
Rosa Yemen,
The Motions,
Be Bop Deluxe,
Ultravox,
DJ Sneak,
Arthur Verocai,
Newcleus,
Black Moon,
Silicon Teens,
Bobby Womack,
Altered Images,
Mark Hollis,
Sugar Minott,
June Days,
Outsiders,
Bizarre Inc.,
Index,
Major Organ And The Adding Machine,
Letta Mbulu,
Unwound,
Little Man,
The Misunderstood,
Radiohead,
Rhythim Is Rhythim,
Q and Not U,
Oppenheimer Analysis,
Ultimate Spinach,
Glambeats Corp.,
Inner City,
Davy DMX,
D'Angelo,
Motorama,
Masters at Work,
Excepter,
Ituana,
The Blues Magoos,
Monolake,
Gang of Four,
Lalann,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.