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 Guinea-Bissau and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Mumbai 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 organ 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 Peter & Gordon to the rap 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 Velvet Underground. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Tomorrow,
The Neon Judgement,
Peter & Gordon,
Bobby Hutcherson,
Sexual Harrassment,
Tubeway Army,
Lonnie Liston Smith,
Dark Day,
Arthur Verocai,
Kool G Rap & DJ Polo,
Donald Byrd,
Chris Corsano,
Guru Guru,
Marshall Jefferson,
The Leaves,
Lizzy Mercier Descloux,
Amon Düül,
Ossler,
PIL,
Vaughan Mason & Crew,
X-101,
Franke,
Harry Pussy,
Black Bananas,
Mr. Review,
Deepchord,
Half Japanese,
Cybotron,
X-102,
OOIOO,
The Angels of Light,
Scott Walker + Sunn O))),
John Lydon,
Little Man,
Visionaries,LMNO, T- Love & Iriscience,
The Residents,
Country Teasers,
Big Daddy Kane,
Lungfish,
Visage,
The Monks,
Yazoo,
Eve St. Jones,
Minny Pops,
Bizarre Inc.,
John Holt,
Steve Hackett,
Monks,
Pantytec,
Parry Music,
Index,
Charles Mingus,
Marc Almond,
Pussy Galore,
Suicide,
Bush Tetras,
Jeff Mills,
Frankie Knuckles,
Basic Channel,
Swell Maps,
Cheater Slicks,
Dennis Brown,
Susan Cadogan,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.