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 Belize and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 Milan and Portland.
I'm losing my edge to the art-school Jakarta 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 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 Rhythm & Sound to the crunk kids.
I played it at the Spitz.
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 Joey Negro. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Soulsonic Force,
Bobby Byrd,
The Red Krayola,
Curtis Mayfield,
Pet Shop Boys,
Mark Hollis,
The United States of America,
Guru Guru,
Henry Cow,
Eve St. Jones,
Sunsets and Hearts,
Scan 7,
U.S. Maple,
The Skatalites,
Angels of Light & Akron/Family,
CMW,
Pharoah Sanders,
Masters at Work,
The Dead C,
Donald Byrd,
T. Rex,
Stockholm Monsters,
Hoover,
Fad Gadget,
Roxette,
The Standells,
Bad Manners,
Kool G Rap & DJ Polo,
48th St. Collective,
The Motions,
Visage,
Second Layer,
Groovy Waters,
Jimmy McGriff,
Manfred Mann's Earth Band,
The Victims,
Lou Reed & Metallica,
Oneida,
Sound Behaviour,
Rekid,
JFA,
The Evens,
Hashim,
Magazine,
The Modern Lovers,
DJ Style,
Average White Band,
The Doors,
the Slits,
Unwound,
Ultramagnetic MC's,
Sparks,
Lou Reed & John Cale,
The Happenings,
Mary Jane Girls,
Radio Birdman,
The Leaves,
The Techniques,
Oppenheimer Analysis,
Anthony Braxton,
Easy Going,
Drexciya, Drexciya, Drexciya, Drexciya.
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.