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 United States and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Lille.
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 guitar 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 Yusef Lateef to the rock kids.
I played it at the 40 Watt.
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 Soft Cell. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Grauzone 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
The Seeds,
Cecil Taylor,
Faraquet,
Kauko Röyhkä ja Narttu,
Fela Kuti,
Eddi Front,
Gang Starr,
AZ,
Anakelly,
Bobby Sherman,
Masters at Work,
Skaos,
X-101,
The Electric Prunes,
The Dave Clark Five,
Tomorrow,
Aswad,
Sight & Sound,
48th St. Collective,
Gil Scott-Heron and Jamie xx,
Jeru the Damaja,
Depeche Mode,
Harry Pussy,
Gil Scott-Heron & Brian Jackson,
Television,
The Flesh Eaters,
K-Klass,
Blancmange,
Bobby Hutcherson,
Maurizio,
Fifty Foot Hose,
Idris Muhammad,
Erykah Badu,
Scratch Acid,
The Evens,
The Cosmic Jokers,
The Skatalites,
In Retrospect,
John Lydon,
Saccharine Trust,
Althea and Donna,
Archie Shepp,
Ultimate Spinach,
James White and The Blacks,
The Monochrome Set,
Kool Moe Dee,
Nas,
Rhythm & Sound,
Matthew Halsall,
Skriet,
New Age Steppers,
La Düsseldorf,
Judy Mowatt,
Audionom,
Lower 48,
It's A Beautiful Day,
The Music Machine,
Arab on Radar,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.