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 Bolivia and from Halifax.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 1978 at the first Visage practice in a loft in London.
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 Camron Feat. Memphis Bleek And Beenie Seigel to the jazz kids.
I played it at Trash.
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 Jesper Dahlbäck. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Nation of Ulysses 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 '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Charles Mingus,
Fatback Band,
Wire,
Whodini,
Strawberry Alarm Clock,
The American Breed,
The Young Rascals,
Das Ding,
Black Bananas,
Infiniti,
Saccharine Trust,
Josef K,
Khruangbin,
Quando Quango,
Pylon,
The Red Krayola,
The Stooges,
Althea and Donna,
Marshall Jefferson,
Sound Behaviour,
Pussy Galore,
Alison Limerick,
Sticky Fingaz feat. Raekwon,
The Dead C,
Funky Four + One,
Crime,
Kenny Larkin,
Dennis Brown,
Andrew Ashong & Theo Parrish,
The Electric Prunes,
Siglo XX,
Vaughan Mason & Crew,
Little Man,
Grandmaster Flash,
The Alarm Clocks,
Yellowson,
Guru Guru,
Bill Wells,
The Toasters,
Ultra Naté,
Cameo,
Desert Stars,
The Music Machine,
Jerry Gold Smith,
James White and The Blacks,
Organ,
Laurel Aitken,
A Certain Ratio,
Harmonia,
Notorious Big And Bone Thugs,
Moss Icon,
Severed Heads,
Curtis Mayfield,
Monolake,
Reagan Youth,
Stiv Bators,
Average White Band,
Byron Stingily,
The Seeds,
Eric Dolphy,
Larry & the Blue Notes,
Mantronix,
Supertramp, Supertramp, Supertramp, Supertramp.
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.