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 Libya and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
I'm losing my edge to the art-school Accra 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 chamberlin 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 Brass Construction to the punk kids.
I played it at the Hacienda.
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 Dead Boys. All the underground hits.
All Wire tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal funk 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 arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak 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?
The Associates,
Siouxsie and the Banshees,
Crime,
Malaria!,
The Alarm Clocks,
Super Lover Cee & Casanova Rud,
Kas Product,
Drive Like Jehu,
Arcadia,
Don Cherry,
The Angels of Light,
Cymande,
The Modern Lovers,
Peter and Kerry,
Dennis Brown,
Nick Cave & The Bad Seeds,
Slave,
Brothers Johnson,
Mary Jane Girls,
Cybotron,
The Zeros,
Scrapy,
Soft Machine,
The Dave Clark Five,
Gil Scott-Heron and Jamie xx,
Traffic Nightmare,
The Pop Group,
Nik Kershaw,
Zero Boys,
The J.B.'s,
Avey Tare,
Ituana,
Steve Hackett,
The New Christs,
The Stooges,
The Doors,
Mo-Dettes,
MDC,
Spandau Ballet,
Nirvana,
Soul Sonic Force,
Nick Fraelich,
The Litter,
Sun Ra,
8 Eyed Spy,
Stereo Dub,
The Cowsills,
Sister Nancy,
Metal Thangz,
Spoonie Gee,
Harmonia,
Max Romeo,
The Barracudas,
AZ,
Ponytail,
Lizzy Mercier Descloux,
Camouflage,
Richard Hell and the Voidoids,
Q and Not U,
The Selecter,
Gabor Szabo,
The Gladiators,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.