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 Iran and from Salvador.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Lagos.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Ultra Naté to the techno kids.
I played it at the 40 Watt.
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 Blossom Toes. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Frankie Knuckles record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
Marshall Jefferson,
Siouxsie and the Banshees,
Piero Umiliani,
Moby Grape,
Notorious Big And Bone Thugs,
Richard Hell and the Voidoids,
Quadrant,
The Gories,
Country Teasers,
The Monochrome Set,
Carl Craig,
Gregory Isaacs,
Make Up,
Ultravox,
T. Rex,
Rotary Connection,
Fad Gadget,
Hot Snakes,
The Count Five,
Super Lover Cee & Casanova Rud,
Nico,
Yazoo,
New Age Steppers,
Crime,
The Sisters of Mercy,
Patti Smith,
Kerrie Biddell,
Soft Machine,
Minnie Riperton,
The Grass Roots,
Buzzcocks,
Barclay James Harvest,
Groovy Waters,
Bobbi Humphrey,
Kaleidoscope,
Malaria!,
Soulsonic Force,
Alice Coltrane,
X-102,
A Flock of Seagulls,
DeepChord presents Echospace,
Pylon,
John Foxx,
Dorothy Ashby,
Charles Mingus,
Soul Sonic Force,
The Names,
Banda Bassotti,
Camberwell Now,
Crispian St. Peters,
Goldenarms,
Circle Jerks,
Radiohead,
Throbbing Gristle,
The Techniques,
The Sound,
Fatback Band,
LL Cool J,
Bauhaus,
Hasil Adkins,
Minutemen,
Harmonia, Harmonia, Harmonia, Harmonia.
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.