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 Brazil and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Beijing and Hong Kong.
I'm losing my edge to the art-school Madrid 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 Thompson Twins to the jazz kids.
I played it at the Crocodile.
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 Fortunes. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Max Romeo,
Oppenheimer Analysis,
Ponytail,
Lyres,
Whodini,
China Crisis,
Joensuu 1685,
Skarface,
Stetsasonic,
Kaleidoscope,
Severed Heads,
Ultimate Spinach,
Gil Scott-Heron & Brian Jackson,
Ossler,
Liaisons Dangereuses,
The Gap Band,
Scott Walker,
Fifty Foot Hose,
Harpers Bizarre,
K-Klass,
Livin' Joy,
Depeche Mode,
These Immortal Souls,
Althea and Donna,
Supertramp,
David Bowie,
Pantytec,
Ajijia Myrayebe,
X-101,
Alison Limerick,
the Sonics,
Lonnie Liston Smith,
Agent Orange,
Sun Ra,
Wolf Eyes,
Quando Quango,
The Smoke,
Dawn Penn,
The Sound,
Johnny Clarke,
The Birthday Party,
Eli Mardock,
Throbbing Gristle,
Motorama,
ABBA,
Flipper,
The Star Department,
Sticky Fingaz feat. Raekwon,
Girls At Our Best!,
DNA,
Eric Copeland,
Brass Construction,
the Human League,
New York Dolls,
Black Moon,
Sparks,
Erasure,
Peter Gordon & Love of Life Orchestra,
Laurel Aitken,
Yaz,
Pagans,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.