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 Mauritius and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Shanghai.
I'm losing my edge to the art-school Bremen 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 rhodes 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 John Holt to the disco 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 Big Daddy Kane. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Lee Hazlewood 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Kango’s Stein Massive,
New Order,
Howard Jones,
The Grass Roots,
Fela Kuti,
Nas,
Whodini,
Pharaoh Sanders and the Fire Engines,
The West Coast Pop Art Experimental Band,
Jerry Gold Smith,
Gil Scott-Heron & Brian Jackson,
Scan 7,
The Martian,
The Invisible,
Zapp,
Sam Rivers,
Rekid,
Jesper Dahlback,
Harmonia,
Lindisfarne,
Barclay James Harvest,
Sister Nancy,
Wasted Youth,
The Birthday Party,
Kerri Chandler,
Symarip,
The Monochrome Set,
Pussy Galore,
Cecil Taylor,
Kool G Rap & DJ Polo,
Stetsasonic,
Ituana,
Donald Byrd,
FM Einheit,
Bobby Hutcherson,
The Dirtbombs,
Ajijia Myrayebe,
Cheater Slicks,
Minor Threat,
Essential Logic,
Country Joe & The Fish,
Inner City,
Robert Görl,
John Foxx,
Funky Four + One,
Notorious BIG live in Amsterdam,
The Busters,
Das Ding,
Talk Talk,
The Sisters of Mercy,
The Peanut Butter Conspiracy,
Blancmange,
the Soft Cell,
The Index,
Trumans Water,
T. Rex,
Red Lorry Yellow Lorry,
Lizzy Mercier Descloux,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.