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 Guatemala and from London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Mumbai 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 sitar 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 Ornette Coleman to the funk kids.
I played it at the Spitz.
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 Ultravox. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Iggy Pop 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Byron Stingily,
Accadde A,
Radio Birdman,
Pantaleimon,
A Flock of Seagulls,
The Leaves,
Blake Baxter,
John Holt,
UT,
cv313,
Roger Hodgson,
The Residents,
Angry Samoans,
Ornette Coleman,
Altered Images,
Mo-Dettes,
Boogie Down Productions,
The Vogues,
Banda Bassotti,
Los Fastidios,
Pagans,
Pete Rock & C.L. Smooth,
The Doors,
Soft Machine,
London Community Gospel Choir,
Hot Snakes,
Crispian St. Peters,
Henry Cow,
Andrew Hill,
One Last Wish,
The Red Krayola,
Easy Going,
Pantytec,
The Gun Club,
Public Image Ltd.,
Subhumans,
Curtis Mayfield,
Pussy Galore,
Letta Mbulu,
Brass Construction,
Soul II Soul,
The Alarm Clocks,
Ronan,
Albert Ayler,
The West Coast Pop Art Experimental Band,
The Mighty Diamonds,
Erykah Badu,
Bronski Beat,
Kayak,
Harpers Bizarre,
Technova,
The Modern Lovers,
Terry Callier,
The Buckinghams,
DeepChord presents Echospace,
Lou Christie,
The Royal Family And The Poor,
Ituana,
Nation of Ulysses,
Rod Modell,
Bad Manners,
Saccharine Trust,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.