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 St Kitts & Nevis and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Paris 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Pole to the jazz kids.
I played it at Cafe Wha.
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 Adolescents. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope 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?
Mars,
Pere Ubu,
Carl Craig,
Freddie Wadling,
X-Ray Spex,
Ornette Coleman,
Thompson Twins,
Crispy Ambulance,
The Pop Group,
Aaron Thompson,
David Bowie,
Magazine,
Robert Görl,
Amazonics,
Skarface,
10cc,
Porter Ricks,
Rekid,
Pylon,
Black Flag,
The Saints,
Jimmy McGriff,
Röyhkä ja Rättö ja Lehtisalo,
Beasts of Bourbon,
Jesper Dahlbäck,
Ten City,
Soul II Soul,
Cheater Slicks,
The Cramps,
Minor Threat,
Sonny Sharrock,
Electric Light Orchestra,
Eurythmics,
Visage,
The Dirtbombs,
Derrick Morgan,
Banda Bassotti,
Bill Wells,
Oblivians,
Severed Heads,
Bauhaus,
Eric B and Rakim,
The Dead C,
Gichy Dan,
Sexual Harrassment,
The Dave Clark Five,
Pussy Galore,
The Selecter,
Major Organ And The Adding Machine,
Be Bop Deluxe,
The Shadows of Knight,
Peter & Gordon,
The Velvet Underground,
Fluxion,
Desert Stars,
Kevin Saunderson,
Scan 7,
Archie Shepp,
Rakim,
Joy Division,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.