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 Croatia and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Glasgow and Milan.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Ronnie Foster to the jazz 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 Dark Day. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
The Durutti Column,
Dual Sessions,
Lafayette Afro Rock Band,
DNA,
The Fortunes,
Jeru the Damaja,
Jerry Gold Smith,
Suburban Knight,
Faust,
Gil Scott-Heron and Jamie xx,
Brick,
Quando Quango,
Sly & The Family Stone,
Bootsy's Rubber Band,
The New Christs,
The Victims,
Magazine,
New Order,
Brass Construction,
Gichy Dan,
Das Ding,
The Men They Couldn't Hang,
Slick Rick,
David Axelrod,
Kaleidoscope,
Severed Heads,
Sonic Youth,
Mars,
The Smiths,
the Germs,
The Sound,
Piero Umiliani,
Peter and Kerry,
Ludus,
Glenn Branca,
Black Flag,
Electric Prunes,
Liaisons Dangereuses,
The Grass Roots,
Con Funk Shun,
Inner City,
The Velvet Underground,
Funkadelic,
John Holt,
The Jesus and Mary Chain,
Desert Stars,
Gabor Szabo,
Rosa Yemen,
Mr. Review,
Byron Stingily,
kango's stein massive,
Q and Not U,
Lalo Schifrin,
Wire,
David McCallum,
Arcadia,
One Last Wish,
Girls At Our Best!,
Deutsch Amerikanische Freundschaft,
the Human League, the Human League, the Human League, the Human League.
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.