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 Iceland and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Delhi.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin 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 Jeff Mills 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 Zero Boys. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Anthony Braxton 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Bobby Sherman,
Oppenheimer Analysis,
Half Japanese,
The Star Department,
Cluster,
Matthew Halsall,
Fugazi,
Captain Beefheart & His Magic Band,
Tomorrow,
Alphaville,
Rufus Thomas,
Icehouse,
Tears for Fears,
Visage,
the Normal,
Urselle,
Selector Dub Narcotic,
EPMD,
Maurizio,
Make Up,
the Association,
Shoche,
The Chocolate Watch Band,
In Retrospect,
Kevin Saunderson,
Johnny Clarke,
Scott Walker,
Roger Hodgson,
E-Dancer,
Dark Day,
Skaos,
The Pop Group,
Andrew Hill,
Cal Tjader,
Mars,
Gil Scott-Heron and Jamie xx,
The Smoke,
Dorothy Ashby,
Rapeman,
Jesper Dahlback,
The Move,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Funkadelic,
Ronan,
Morten Harket,
Derrick May,
Newcleus,
Buzzcocks,
KRS-One,
Eli Mardock,
K-Klass,
Simply Red,
Hasil Adkins,
Blancmange,
Brothers Johnson,
Lou Reed,
Average White Band,
Oblivians,
Pulsallama,
Kurtis Blow,
Avey Tare & Kría Brekkan,
Black Moon, Black Moon, Black Moon, Black Moon.
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.