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 Venezuela and from Glasgow.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Edmonton 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 linndrum 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 Mojo Men to the crunk kids.
I played it at the Astoria.
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 Evens. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Spandau Ballet,
K-Klass,
Fort Wilson Riot,
Camron Feat. Jay Z And Juelz,
MC5,
Deutsch Amerikanische Freundschaft,
David Axelrod,
The Human League,
Althea and Donna,
Angry Samoans,
The Motions,
Lafayette Afro Rock Band,
Art Ensemble Of Chicago,
Electric Light Orchestra,
Boz Scaggs,
Carl Craig,
The J.B.'s,
Deadbeat,
Thompson Twins,
Avey Tare,
Pulsallama,
Dawn Penn,
The Remains,
Terror Squad Feat. Camron,
Eli Mardock,
Jeru the Damaja,
10cc,
Max Romeo,
Alison Limerick,
the Soft Cell,
Donny Hathaway,
Bill Wells,
L. Decosne,
Sticky Fingaz feat. Raekwon,
The Golliwogs,
Bauhaus,
Bush Tetras,
Lungfish,
Pharaoh Sanders and the Fire Engines,
Mo-Dettes,
Alton Ellis,
Icehouse,
The Victims,
Erasure,
The Selecter,
Visage,
Eyeless In Gaza,
Frankie Knuckles,
Connie Case,
Mandrill,
Crash Course in Science,
Basic Channel,
Supertramp,
Das Ding,
Rufus Thomas,
The Move,
Heavy D & The Boyz,
Curtis Mayfield,
The Velvet Underground,
The Moody Blues,
The Busters,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.