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 Moldova and from Stockholm.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1961 to 1970.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when Donald Fagen 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 K-Klass 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 Grass Roots. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Tom Boy,
Albert Ayler,
The Blues Magoos,
Susan Cadogan,
Q65,
Sex Pistols,
Larry & the Blue Notes,
the Bar-Kays,
The Kinks,
Sun Ra,
Stetsasonic,
Oppenheimer Analysis,
Brand Nubian,
The Evens,
Depeche Mode,
Goldenarms,
Alphaville,
Fort Wilson Riot,
X-101,
Steve Hackett,
Livin' Joy,
The Golliwogs,
Cecil Taylor,
Visage,
Peter & Gordon,
The Cowsills,
Boogie Down Productions,
Angry Samoans,
John Holt,
Unwound,
Heaven 17,
Idris Muhammad,
The Gladiators,
Nick Cave & The Bad Seeds,
Crooked Eye,
The Raincoats,
Teenage Jesus and the Jerks,
Kerrie Biddell,
The J.B.'s,
Arcadia,
China Crisis,
Grey Daturas,
Sarah Menescal,
The Mojo Men,
The Dave Clark Five,
Andrew Ashong & Theo Parrish,
Kevin Saunderson,
The Invisible,
Hasil Adkins,
Pulsallama,
Unrelated Segments,
Louis and Bebe Barron,
Animal Collective,
Davy DMX,
John Lydon,
Drexciya,
the Slits,
DJ Style,
Max Romeo,
Johnny Clarke,
Main Source,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.