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 Nicaragua and from Johannesburg.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Milan 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 The Monks to the jazz kids.
I played it at Trash.
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 Flash Fearless. All the underground hits.
All Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme 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?
FM Einheit,
Arab on Radar,
Susan Cadogan,
Fort Wilson Riot,
The Mummies,
the Fania All-Stars,
The Vogues,
Andrew Hill,
Henry Cow,
Pete Rock & C.L. Smooth,
John Holt,
Graham Central Station,
Monks,
the Soft Cell,
Janne Schatter,
Sällskapet,
Ultramagnetic MC's,
Jerry's Kids,
Man Eating Sloth,
The Move,
The Names,
Scan 7,
Negative Approach,
Sound Behaviour,
The Gladiators,
The Associates,
Johnny Osbourne,
Sun Ra Arkestra,
Qualms,
The Barracudas,
Inner City,
The Remains,
Clear Light,
Rites of Spring,
T. Rex,
CMW,
Pantytec,
Eric Dolphy,
Jesper Dahlbäck,
The Gap Band,
Lalann,
Kerrie Biddell,
U.S. Maple,
Bobby Sherman,
Cameo,
Judy Mowatt,
Underground Resistance,
The Invisible,
Moss Icon,
Index,
Eli Mardock,
Kenny Larkin,
Chrome,
Byron Stingily,
Jawbox,
Soul II Soul,
Eden Ahbez,
T.S.O.L.,
Drexciya,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.