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 Armenia and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1972.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Bologna 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 1976 at the first Chic practice in a loft in New York.
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 Roy Ayers Ubiquity to the dance 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 Warsaw. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Make Up,
Scientists,
Sugar Minott,
Eyeless In Gaza,
Clear Light,
Suburban Knight,
Wolf Eyes,
Rhythm & Sound,
Bobbi Humphrey,
Fluxion,
Scrapy,
Jacob Miller,
Ludus,
Aswad,
Electric Light Orchestra,
Duran Duran,
L. Decosne,
Lalann,
Masters at Work,
The Black Dice,
Avey Tare's Slasher Flicks,
Sun Ra Arkestra,
Fela Kuti,
Slick Rick,
The Angels of Light,
Brothers Johnson,
The Buckinghams,
Model 500,
Dorothy Ashby,
Man Eating Sloth,
Pantaleimon,
The Shadows of Knight,
The Busters,
Sparks,
Mission of Burma,
The Tremeloes,
Bobby Sherman,
Crispian St. Peters,
The Victims,
Gichy Dan,
Mandrill,
Eli Mardock,
Sarah Menescal,
Sonic Youth,
Bizarre Inc.,
The Fire Engines,
Manfred Mann's Earth Band,
Second Layer,
the Soft Cell,
In Retrospect,
The Real Kids,
Radiohead,
Funkadelic,
Yazoo,
Yusef Lateef,
Groovy Waters,
Dawn Penn,
Pharaoh Sanders and the Fire Engines,
Deakin,
Junior Murvin,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.