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 Sweden and from Bremen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Woodstock 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron 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 Beasts of Bourbon to the dance kids.
I played it at the Roxy.
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 Morten Harket. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Soft Cell 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Donald Byrd,
X-101,
The Golliwogs,
Talk Talk,
Warsaw,
Robert Wyatt,
Aaron Thompson,
Index,
The Alarm Clocks,
Moby Grape,
B.T. Express,
Neu!,
Saccharine Trust,
Boz Scaggs,
Pole,
Duran Duran,
Pantytec,
Mark Hollis,
PIL,
the Bar-Kays,
Andrew Hill,
The Pretty Things,
Rakim,
Public Image Ltd.,
Vainqueur,
the Swans,
Blossom Toes,
the Association,
Mantronix,
Steve Hackett,
Ken Boothe,
The Sisters of Mercy,
Bang On A Can,
Marvin Gaye,
Gregory Isaacs,
Rufus Thomas,
Idris Muhammad,
In Retrospect,
D'Angelo,
Kevin Saunderson,
The Gladiators,
R.M.O.,
Scion,
The United States of America,
Heaven 17,
Eli Mardock,
Q and Not U,
The Buckinghams,
the Sonics,
Yellowson,
The Names,
Roy Ayers Ubiquity,
Big Daddy Kane,
Captain Beefheart & His Magic Band,
Nick Fraelich,
The Raincoats,
Procol Harum,
Notorious BIG live in Amsterdam,
Brass Construction,
Juan Atkins,
Model 500,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.