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 Malawi and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Winnipeg 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 1973 at the first Television 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 Masters at Work to the punk 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 Erasure. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Eli Mardock 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Jacques Brel,
Fifty Foot Hose,
The United States of America,
A Certain Ratio,
Supertramp,
Pet Shop Boys,
Eli Mardock,
David Axelrod,
Procol Harum,
The Vogues,
Freddie Wadling,
Q and Not U,
Sugar Minott,
Richard Hell and the Voidoids,
Bronski Beat,
Oblivians,
Adolescents,
Neu!,
Piero Umiliani,
Porter Ricks,
The Smiths,
Skarface,
Lebanon Hanover,
The Sound,
Isaac Hayes,
Scott Walker + Sunn O))),
The Knickerbockers,
Pantytec,
Boredoms,
James White and The Blacks,
Selector Dub Narcotic,
Goldenarms,
Cameo,
Joyce Sims,
Kenny Larkin,
The Count Five,
Kerrie Biddell,
Bizarre Inc.,
China Crisis,
The Skatalites,
Yaz,
Liliput,
Jandek,
Lou Reed,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Chocolate Watch Band,
Ornette Coleman,
Eyeless In Gaza,
MC5,
Public Image Ltd.,
Tears for Fears,
The Fuzztones,
Brand Nubian,
Fatback Band,
Junior Murvin,
Major Organ And The Adding Machine,
Idris Muhammad,
Warren Ellis,
Arthur Verocai,
the Normal,
New Order,
The Pop Group,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.