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 Indonesia and from Mexico City.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Accra and Manchester.
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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Accadde A to the techno kids.
I played it at the Astoria.
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 Roy Ayers. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Robert Wyatt 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Byron Stingily,
Bob Dylan,
Glenn Branca,
Drexciya,
Faust,
Leonard Cohen,
Harmonia,
T.S.O.L.,
The Count Five,
Depeche Mode,
Clear Light,
Lou Reed & Metallica,
Curtis Mayfield,
Todd Terry,
Blancmange,
Peter and Kerry,
The Smoke,
Ultra Naté,
Main Source,
The Flesh Eaters,
Bad Manners,
Second Layer,
The Peanut Butter Conspiracy,
Anthony Braxton,
Albert Ayler,
10cc,
DJ Style,
Archie Shepp,
Pussy Galore,
Masters at Work,
Monolake,
Kevin Saunderson,
X-Ray Spex,
the Normal,
Sun Ra,
Lucky Dragons,
June of 44,
Derrick May,
Lebanon Hanover,
Flamin' Groovies,
Aural Exciters,
Public Enemy,
Roger Hodgson,
Jesper Dahlback,
Mission of Burma,
The Grass Roots,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pylon,
Nas,
Suburban Knight,
EPMD,
Chris Corsano,
Heaven 17,
Sight & Sound,
Oppenheimer Analysis,
Alison Limerick,
Bobby Byrd,
Rahsaan Roland Kirk,
Eric B and Rakim,
Deakin,
Nick Fraelich,
Adolescents,
Television, Television, Television, Television.
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.