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 Italy and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Sixth Finger to the funk kids.
I played it at the Roxy.
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 Notorious Big And Bone Thugs. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Public Image Ltd.,
Electric Light Orchestra,
Johnny Osbourne,
Sad Lovers and Giants,
Alton Ellis,
Kaleidoscope,
Blancmange,
David Bowie,
James White and The Blacks,
The Fugs,
Ronnie Foster,
Marshall Jefferson,
The Sonics,
Jesper Dahlback,
Pet Shop Boys,
Glenn Branca,
Skarface,
Pharaoh Sanders and the Fire Engines,
New Order,
Nico,
The Seeds,
Black Flag,
PIL,
Lungfish,
The Fortunes,
Carl Craig,
the Human League,
Pole,
Animal Collective,
Sonny Sharrock,
Joe Smooth,
Angry Samoans,
Desert Stars,
Susan Cadogan,
H. Thieme,
Marine Girls,
New York Dolls,
Sight & Sound,
Monolake,
Donald Byrd,
Porter Ricks,
The Invisible,
Leonard Cohen,
Roxette,
Joe Finger,
Au Pairs,
Donny Hathaway,
Boredoms,
Ituana,
Sticky Fingaz feat. Raekwon,
Absolute Body Control,
Tommy Roe,
Josef K,
Bizarre Inc.,
Black Moon,
The Five Americans,
Big Daddy Kane,
Parry Music,
The Fuzztones,
AZ,
Faust,
CMW, CMW, CMW, CMW.
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.