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 Jamaica and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Johannesburg 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 mellotron 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 Motorama to the funk 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 Fatback Band. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every The Five Americans record on German import.
I heard that you have a white label of every seminal disco 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 organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
The Angels of Light,
Swell Maps,
Tom Boy,
UT,
Minnie Riperton,
June Days,
The Dave Clark Five,
Kurtis Blow,
The Moody Blues,
Kango’s Stein Massive,
Television,
Patti Smith,
Joensuu 1685,
Hot Snakes,
The Doors,
The Men They Couldn't Hang,
Second Layer,
Marine Girls,
DNA,
Ultra Naté,
Eric Copeland,
Derrick May,
Lungfish,
Brothers Johnson,
Moby Grape,
Pharoah Sanders,
Blossom Toes,
The Modern Lovers,
Black Flag,
the Swans,
Absolute Body Control,
Rhythm & Sound,
Metal Thangz,
Piero Umiliani,
Toni Rubio,
Fugazi,
Wolf Eyes,
Dawn Penn,
Wighnomy Brothers & Robag Wruhme,
Lou Reed & John Cale,
Tommy Roe,
Man Eating Sloth,
Suicide,
Neu!,
Bobby Womack,
Anthony Braxton,
The Golliwogs,
Index,
Notorious Big And Bone Thugs,
the Germs,
The Martian,
Whodini,
The Associates,
The Red Krayola,
The Index,
ABBA,
The Neon Judgement,
James Chance & The Contortions,
F. McDonald,
Scratch Acid,
Hoover,
The Human League,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.