Infinitely Losing My Edge

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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 Togo and from Tokyo.
But I was there.

I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1974.
I'm losing my edge.

To all the kids in Cairo and Beijing.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Rahsaan Roland Kirk to the funk kids.
I played it at the Hacienda.
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 Loose Ends. All the underground hits.

All Graham Central Station tracks. I heard you have a vinyl of every The Gladiators record on German import.

I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.

I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.

I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.

I hear everybody that you know is more relevant than everybody that I know.

But have you seen my records?

The Velvet Underground, Bootsy Collins, Smog, Michelle Simonal, the Fania All-Stars, Suburban Knight, Royal Trux, Crime, Alton Ellis, Harmonia, KRS-One, The Happenings, Con Funk Shun, the Association, The Fugs, Infiniti, Idris Muhammad, Dark Day, Jesper Dahlback, The Cramps, The Invisible, Avey Tare, Rotary Connection, Ultimate Spinach, U.S. Maple, David Bowie, Grauzone, The Wake, John Foxx, The Zeros, One Last Wish, DNA, Lou Reed & John Cale, Drexciya, Sun Ra, The Music Machine, Henry Cow, Goldenarms, This Heat, Lee Hazlewood, Trumans Water, Zero Boys, Ponytail, Sex Pistols, Minnie Riperton, Unrelated Segments, Jacques Brel, Skriet, Urselle, Little Man, Cecil Taylor, the Bar-Kays, The Real Kids, Maleditus Sound, N.O.R.E. Featuring Pharrell, Scott Walker, Bluetip, Nico, The Gladiators, Lizzy Mercier Descloux, Lyres, Niagra, Niagra, Niagra, Niagra.

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.

A hack by Matthew Ogle who is very sorry to James Murphy and basically everyone (cheers to Darius and this for the late-night inspiration)