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 Turkey and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Reuben Wilson to the disco kids.
I played it at Cafe Wha.
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 Drexciya. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Red Lorry Yellow Lorry,
Scan 7,
Peter and Kerry,
Arthur Verocai,
David McCallum,
Clear Light,
Ultra Naté,
Tomorrow,
Ajijia Myrayebe,
Bronski Beat,
AZ,
Echo & the Bunnymen,
Zapp,
The Alarm Clocks,
LL Cool J,
Frankie Knuckles,
Maleditus Sound,
The Fuzztones,
Arcadia,
Prince Buster,
Black Pus,
Lebanon Hanover,
The Grass Roots,
Pharoah Sanders,
Stiv Bators,
David Axelrod,
Lalo Schifrin,
Roxette,
Sunsets and Hearts,
Grey Daturas,
The Barracudas,
Wings,
The Cosmic Jokers,
The Kinks,
Byron Stingily,
Cluster,
Wire,
La Düsseldorf,
Cabaret Voltaire,
Country Teasers,
Nas,
Richard Hell and the Voidoids,
Leonard Cohen,
Gang Green,
Be Bop Deluxe,
Gil Scott-Heron & Brian Jackson,
Larry & the Blue Notes,
Magazine,
The Pop Group,
Franke,
Dead Boys,
The Divine Comedy,
Crash Course in Science,
The Peanut Butter Conspiracy,
the Germs,
Skaos,
Thompson Twins,
Faraquet,
Black Bananas,
Camouflage, Camouflage, Camouflage, Camouflage.
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.