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 Mauritania and from Columbus.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Manchester 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Bad Manners to the grime kids.
I played it at the Spitz.
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 Gang Gang Dance. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal dance 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 a güiro and a harpsichord 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 snare and bought a guitar.
I hear that you and your band have sold your guitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
The Gladiators,
Graham Central Station,
Mars,
Peter Gordon & Love of Life Orchestra,
David Axelrod,
Youth Brigade,
Glambeats Corp.,
The Vogues,
the Bar-Kays,
Kool Moe Dee,
Heavy D & The Boyz,
Metal Thangz,
Severed Heads,
Fluxion,
The Move,
Schoolly D,
The Fall,
Andrew Ashong & Theo Parrish,
Eve St. Jones,
Minor Threat,
Justin Hinds & The Dominoes,
Marcia Griffiths,
Stetsasonic,
Connie Case,
Radio Birdman,
The Leaves,
10cc,
Saccharine Trust,
Ken Boothe,
Public Image Ltd.,
Sonny Sharrock,
Reuben Wilson,
Wally Richardson,
Massinfluence,
UT,
JFA,
Sound Behaviour,
Lyres,
Au Pairs,
Slave,
Patti Smith,
The Zeros,
Prince Buster,
8 Eyed Spy,
The Seeds,
Cluster,
Bluetip,
the Swans,
The Victims,
Ultravox,
Arab on Radar,
Black Sheep,
Drexciya,
Janne Schatter,
Newcleus,
the Sonics,
Strawberry Alarm Clock,
Orchestral Manoeuvres in the Dark,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.