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 Qatar and from Accra.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Paris 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 Michael McDonald 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 Donny Hathaway to the electroclash kids.
I played it at the Crocodile.
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 Tommy Roe. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every New Age Steppers 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Gories,
Qualms,
48th St. Collective,
Unrelated Segments,
Accadde A,
Derrick May,
Mandrill,
Bobby Sherman,
JFA,
Barrington Levy,
Marc Romboy vs. Booka Shade,
The Gun Club,
Jeru the Damaja,
David Bowie,
June of 44,
John Coltrane,
Fatback Band,
Robert Wyatt,
Talk Talk,
Yusef Lateef,
Kerrie Biddell,
The Slits,
Section 25,
The Five Americans,
Ajijia Myrayebe,
Livin' Joy,
Fort Wilson Riot,
Pete Rock & C.L. Smooth,
Robert Hood,
Sound Behaviour,
The Fire Engines,
Kauko Röyhkä ja Narttu,
Tomorrow,
London Community Gospel Choir,
A Certain Ratio,
The Monks,
Avey Tare,
Boz Scaggs,
Orchestral Manoeuvres in the Dark,
Marine Girls,
Carl Craig,
The Grass Roots,
Ralphi Rosario,
Glenn Branca,
8 Eyed Spy,
Grandmaster Flash and the Furious Five,
The Black Dice,
Monolake,
Rosa Yemen,
China Crisis,
Liliput,
Kings Of Tomorrow,
The Mummies,
Circle Jerks,
Isaac Hayes,
The Standells,
Young Marble Giants,
Juan Atkins,
Deadbeat,
Crispian St. Peters,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.