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 Grenada and from Tokyo.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Milan 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 synthesizer 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 James Chance & The Contortions to the grime kids.
I played it at the Crocodile.
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 Kings Of Tomorrow. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Soul II Soul 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Tomorrow,
Scrapy,
Johnny Clarke,
Faraquet,
Mad Mike,
Nation of Ulysses,
Circle Jerks,
The Monochrome Set,
Andrew Hill,
Sällskapet,
Cymande,
John Lydon,
Lee Hazlewood,
The Names,
The Jesus and Mary Chain,
Grandmaster Flash and the Furious Five,
The Birthday Party,
Cabaret Voltaire,
Marine Girls,
Harmonia,
Motorama,
Harpers Bizarre,
Scientists,
Tommy Roe,
The Young Rascals,
the Fania All-Stars,
The Stooges,
the Sonics,
Index,
Jacques Brel,
Amazonics,
the Bar-Kays,
Ralphi Rosario,
Roxette,
The Standells,
The Durutti Column,
Bang on a Can All-Stars,
Eddi Front,
Pharaoh Sanders and the Fire Engines,
Davy DMX,
Rotary Connection,
Slave,
Rapeman,
The Buckinghams,
Godley & Creme,
Sun Ra Arkestra,
Kerri Chandler,
Echo & the Bunnymen,
Röyhkä ja Rättö ja Lehtisalo,
Roy Ayers,
The Grass Roots,
Bobby Womack,
Matthew Bourne,
MC5,
The Misunderstood,
Kenny Larkin,
Grauzone,
Stiv Bators,
Porter Ricks,
Sunsets and Hearts,
Section 25,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.