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 Belarus and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Manila 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 mellotron 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 Shadows of Knight to the jazz 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 Royal Trux. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman 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?
Eric Dolphy,
The Searchers,
Animal Collective,
UT,
Heaven 17,
Scion,
The Fire Engines,
Infiniti,
Quando Quango,
Roxy Music,
Boogie Down Productions,
The Red Krayola,
A Flock of Seagulls,
Kas Product,
Sällskapet,
D'Angelo,
Cheater Slicks,
The Busters,
Lebanon Hanover,
Josef K,
Simply Red,
The Motions,
Eric Copeland,
Electric Light Orchestra,
Bang on a Can All-Stars,
Pussy Galore,
Marc Almond,
the Bar-Kays,
The Men They Couldn't Hang,
Sarah Menescal,
The Residents,
Surgeon,
Jesper Dahlback,
The New Christs,
Television,
Notorious Big And Bone Thugs,
Larry & the Blue Notes,
Curtis Mayfield,
Mandrill,
Manfred Mann's Earth Band,
Black Moon,
Moebius,
Marshall Jefferson,
Lou Christie,
Thompson Twins,
Yazoo,
Cluster,
Royal Trux,
Sandy B,
The Remains,
Pharaoh Sanders and the Fire Engines,
Sad Lovers and Giants,
Lonnie Liston Smith,
Echospace,
Ludus,
Grey Daturas,
U.S. Maple,
The Standells,
Sister Nancy,
Aswad,
Half Japanese,
Pole, Pole, Pole, Pole.
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.