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 Monaco and from Toronto.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Taipei and Columbus.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 The Monks to the crunk kids.
I played it at the Astoria.
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 The Beau Brummels. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal disco 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 a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
De La Soul & Jungle Brothers,
X-Ray Spex,
Jacques Brel,
Roxette,
Siouxsie and the Banshees,
The Cure,
Slick Rick,
Connie Case,
The Star Department,
Isaac Hayes,
Siglo XX,
Jesper Dahlback,
The Cosmic Jokers,
Harpers Bizarre,
Althea and Donna,
Man Parrish,
Flamin' Groovies,
Circle Jerks,
New York Dolls,
The Men They Couldn't Hang,
Nation of Ulysses,
Kauko Röyhkä ja Narttu,
Ossler,
Scrapy,
Cal Tjader,
Bronski Beat,
A Certain Ratio,
Bobby Hutcherson,
Second Layer,
Altered Images,
Lou Christie,
Camberwell Now,
Cabaret Voltaire,
Metal Thangz,
Bootsy Collins,
Guru Guru,
Kool Moe Dee,
Grandmaster Flash and the Furious Five,
Maleditus Sound,
Curtis Mayfield,
Sexual Harrassment,
Michelle Simonal,
Kurtis Blow,
Don Cherry,
The Gun Club,
Larry & the Blue Notes,
Oneida,
Gabor Szabo,
Livin' Joy,
Rapeman,
Lalo Schifrin,
Gastr Del Sol,
Sun Ra Arkestra,
Andrew Hill,
Nick Fraelich,
Gregory Isaacs,
Monolake,
Subhumans,
Desert Stars,
Nick Cave & The Bad Seeds,
Dark Day,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.