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 the UAE and from Tokyo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Paris 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Quando Quango to the crunk kids.
I played it at the Roxy.
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 The Techniques. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Bauhaus,
Brand Nubian,
Technova,
Joe Smooth,
KRS-One,
Cabaret Voltaire,
Pussy Galore,
Excepter,
Aaron Thompson,
Pete Rock & C.L. Smooth,
The Angels of Light,
Rufus Thomas,
Danielle Patucci,
The Royal Family And The Poor,
The Golliwogs,
Boogie Down Productions,
The Music Machine,
Jeff Mills,
Blake Baxter,
Idris Muhammad,
T.S.O.L.,
Camouflage,
Soft Cell,
The Mojo Men,
In Retrospect,
Marcia Griffiths,
The Men They Couldn't Hang,
John Cale,
Barclay James Harvest,
The Remains,
L. Decosne,
Warren Ellis,
The Names,
The Victims,
Alton Ellis,
Grandmaster Flash,
the Soft Cell,
Bang on a Can All-Stars,
The Move,
Minnie Riperton,
Skaos,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Main Source,
Andrew Ashong & Theo Parrish,
Banda Bassotti,
Soulsonic Force,
Sarah Menescal,
Gabor Szabo,
Jesper Dahlback,
Bluetip,
Eric B and Rakim,
Japan,
Nik Kershaw,
David Bowie,
The Slackers,
Rapeman,
Sad Lovers and Giants,
Hoover,
These Immortal Souls,
Johnny Osbourne,
Monolake,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.