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 China and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Mumbai.
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 synthesizer 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 EPMD to the funk kids.
I played it at the Hacienda.
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 Eric Dolphy. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Dorothy Ashby,
Underground Resistance,
Pete Rock & C.L. Smooth,
Simply Red,
Faraquet,
UT,
Symarip,
OOIOO,
Ice-T,
Isaac Hayes,
Girls At Our Best!,
Robert Wyatt,
The Angels of Light,
The Sound,
The Cosmic Jokers,
Yaz,
Art Ensemble Of Chicago,
Organ,
Peter and Kerry,
The Fortunes,
John Foxx,
Roy Ayers,
John Lydon,
Radiohead,
The Moleskins,
David McCallum,
Don Cherry,
A Flock of Seagulls,
Eyeless In Gaza,
The Royal Family And The Poor,
Kool G Rap & DJ Polo,
Tears for Fears,
Aural Exciters,
Reuben Wilson,
The Martian,
Electric Prunes,
Little Man,
Jacques Brel,
Eddi Front,
Trumans Water,
The Peanut Butter Conspiracy,
Nik Kershaw,
The Invisible,
T. Rex,
The Litter,
Judy Mowatt,
The Black Dice,
Bizarre Inc.,
Laurel Aitken,
Barry Ungar,
David Bowie,
Altered Images,
Subhumans,
Vaughan Mason & Crew,
The Sonics,
Donny Hathaway,
Flipper,
Adolescents,
the Human League,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.