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 Angola and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school Cairo 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 clarinet sounds with much patience.
I was there when Lou Reed 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 UT to the crunk 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 Lonnie Liston Smith. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Brick 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Deadbeat,
The United States of America,
Grandmaster Flash,
The Doobie Brothers,
Ultimate Spinach,
Orchestral Manoeuvres in the Dark,
Notorious Big And Bone Thugs,
Grauzone,
Model 500,
The Trojans,
Mission of Burma,
Radio Birdman,
The Cowsills,
De La Soul & Jungle Brothers,
Roy Ayers,
Visage,
Kaleidoscope,
Ludus,
Jacob Miller,
Selector Dub Narcotic,
Delta 5,
Das Ding,
Deepchord,
Major Organ And The Adding Machine,
John Holt,
The Durutti Column,
Louis and Bebe Barron,
Pantytec,
The Monochrome Set,
Saccharine Trust,
Wolf Eyes,
Magma,
Guru Guru,
Silicon Teens,
Rekid,
The Busters,
Quando Quango,
Bauhaus,
the Human League,
Agitation Free,
Section 25,
Avey Tare's Slasher Flicks,
Echo & the Bunnymen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Von Mondo,
Absolute Body Control,
Howard Jones,
Liaisons Dangereuses,
Matthew Bourne,
Shoche,
The Sonics,
Eurythmics,
Minnie Riperton,
Fifty Foot Hose,
Ken Boothe,
Excepter,
T.S.O.L.,
Deutsch Amerikanische Freundschaft,
Janne Schatter,
Sexual Harrassment,
Bronski Beat,
Essential Logic,
The Searchers, The Searchers, The Searchers, The Searchers.
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.