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 Thailand and from Halifax.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Portland 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 rhodes 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 Spandau Ballet to the dance kids.
I played it at the Hacienda.
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 DNA. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Banda Bassotti,
The Chocolate Watch Band,
June Days,
Mary Jane Girls,
The Mojo Men,
Gang of Four,
The Alarm Clocks,
The Fall,
Brothers Johnson,
The Angels of Light,
Ken Boothe,
Gil Scott Heron,
Flamin' Groovies,
Soul II Soul,
Second Layer,
Lou Reed,
Reuben Wilson,
These Immortal Souls,
Pagans,
Cluster,
Man Parrish,
The Electric Prunes,
Lonnie Liston Smith,
Little Man,
Warren Ellis,
Stockholm Monsters,
Dennis Brown,
Camberwell Now,
Gabor Szabo,
Girls At Our Best!,
Tim Buckley,
L. Decosne,
Flash Fearless,
Interpol,
The Dave Clark Five,
The Gladiators,
Shuggie Otis,
Be Bop Deluxe,
Terror Squad Feat. Camron,
Deutsch Amerikanische Freundschaft,
The Star Department,
Anakelly,
The Seeds,
Rosa Yemen,
Mars,
Bad Manners,
Theoretical Girls,
Donny Hathaway,
Teenage Jesus and the Jerks,
Arcadia,
Funkadelic,
K-Klass,
The Music Machine,
UT,
Joey Negro,
Crispian St. Peters,
Fela Kuti,
Ten City, Ten City, Ten City, Ten City.
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.