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 Bhutan and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Milan 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 arpeggiator 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 Pulsallama to the grunge 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 Marc Romboy vs. Booka Shade. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Gong 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ 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?
Royal Trux,
Amon Düül,
the Bar-Kays,
Slave,
Soul II Soul,
the Normal,
Minny Pops,
Tears for Fears,
Scientists,
The Men They Couldn't Hang,
Kings Of Tomorrow,
Maurizio,
Popol Vuh,
Camouflage,
Lebanon Hanover,
Lonnie Liston Smith,
Bobby Byrd,
David Axelrod,
Masters at Work,
The Skatalites,
Supertramp,
The Associates,
Laurel Aitken,
Swans,
Zapp,
Dorothy Ashby,
The Dead C,
Model 500,
Piero Umiliani,
Byron Stingily,
Lee Hazlewood,
Kas Product,
Hot Snakes,
Barbara Tucker,
Derrick May,
Minor Threat,
Angels of Light & Akron/Family,
Jeff Mills,
Drive Like Jehu,
L. Decosne,
Vladislav Delay,
Lizzy Mercier Descloux,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gregory Isaacs,
Sonic Youth,
Cheater Slicks,
John Coltrane,
the Association,
Ituana,
Tim Buckley,
James White and The Blacks,
Desert Stars,
Fort Wilson Riot,
One Last Wish,
The Shadows of Knight,
This Heat,
Delon & Dalcan,
The Grass Roots,
Newcleus,
The Electric Prunes,
The Evens,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.