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 Cameroon and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Hong Kong 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Yusef Lateef to the disco 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 Bobby Sherman. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Blake Baxter 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
T.S.O.L.,
Juan Atkins,
Q65,
Make Up,
Altered Images,
The Blackbyrds,
Spoonie Gee,
Joey Negro,
Technova,
Dennis Brown,
Bill Near,
Essential Logic,
The Victims,
Agitation Free,
The Star Department,
Dorothy Ashby,
Flipper,
a-ha,
Agent Orange,
Girls At Our Best!,
Hot Snakes,
Yusef Lateef,
Boogie Down Productions,
Procol Harum,
The Wake,
The Gap Band,
L. Decosne,
Organ,
Aural Exciters,
Roger Hodgson,
Patti Smith,
Gregory Isaacs,
Glenn Branca,
Thee Headcoats,
The Birthday Party,
David Bowie,
Pantaleimon,
Minny Pops,
Symarip,
The Move,
Kool Moe Dee,
Donny Hathaway,
The Men They Couldn't Hang,
Infiniti,
Sexual Harrassment,
10cc,
Deepchord,
Section 25,
Ajijia Myrayebe,
Pierre Henry,
Cybotron,
Jeff Lynne,
The Flesh Eaters,
Bronski Beat,
Sällskapet,
Rhythim Is Rhythim,
Masters at Work,
MDC,
Shoche, Shoche, Shoche, Shoche.
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.