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 Slovakia and from Stockholm.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
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 808 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 Con Funk Shun to the disco kids.
I played it at the 40 Watt.
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 Echospace. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Curtis Mayfield,
The Mighty Diamonds,
Jacob Miller,
Lee Hazlewood,
Max Romeo,
Richard Hell and the Voidoids,
Crash Course in Science,
Big Daddy Kane,
Zapp,
Visage,
Dual Sessions,
Marmalade,
Scan 7,
Siglo XX,
Maleditus Sound,
Ossler,
The Neon Judgement,
Lyres,
Throbbing Gristle,
Alice Coltrane,
kango's stein massive,
Pet Shop Boys,
The Litter,
Cameo,
Drexciya,
Pere Ubu,
Ornette Coleman,
Bad Manners,
Saccharine Trust,
A Certain Ratio,
Jeff Mills,
Sly & The Family Stone,
Isaac Hayes,
ABBA,
Radiohead,
These Immortal Souls,
Lungfish,
The Kinks,
The Black Dice,
Mandrill,
Eurythmics,
the Soft Cell,
New Order,
Vaughan Mason & Crew,
Heavy D & The Boyz,
The Invisible,
Freddie Wadling,
Lou Reed & John Cale,
Joy Division,
Moebius,
Glenn Branca,
Orchestral Manoeuvres in the Dark,
Echo & the Bunnymen,
the Human League,
Vladislav Delay,
Jimmy McGriff,
Robert Görl,
Siouxsie and the Banshees,
Sandy B,
Rakim,
The United States of America,
T. Rex, T. Rex, T. Rex, T. Rex.
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.