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 Ecuador and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school New York 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 linndrum 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 Michelle Simonal to the dance kids.
I played it at the Spitz.
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 Ash Ra Tempel. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every UT 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 '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Magazine 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?
Cluster,
Ten City,
The Searchers,
Sun Ra,
Masters at Work,
Radio Birdman,
Index,
the Normal,
the Bar-Kays,
Sugar Minott,
Hot Snakes,
London Community Gospel Choir,
Delon & Dalcan,
Ultramagnetic MC's,
World's Most,
Black Moon,
June Days,
Harpers Bizarre,
Unrelated Segments,
Richard Hell and the Voidoids,
DeepChord presents Echospace,
Louis and Bebe Barron,
Terror Squad Feat. Camron,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barclay James Harvest,
Grauzone,
Soft Cell,
U.S. Maple,
Alphaville,
Bobby Hutcherson,
Deepchord,
Derrick May,
Archie Shepp,
Q and Not U,
Roy Ayers,
Ash Ra Tempel,
Maleditus Sound,
Skarface,
The Wake,
Jerry Gold Smith,
Eyeless In Gaza,
Agitation Free,
Drexciya,
The Motions,
The Walker Brothers,
Red Lorry Yellow Lorry,
Gabor Szabo,
Erasure,
L. Decosne,
Basic Channel,
Isaac Hayes,
Gastr Del Sol,
Monolake,
Audionom,
Massinfluence,
Monks,
Mary Jane Girls,
Flash Fearless,
Matthew Halsall,
the Fania All-Stars,
Newcleus,
The Cowsills,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.