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 Mexico and from Cairo.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Lille 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Marshall Jefferson to the rock kids.
I played it at Cafe Wha.
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 Massinfluence. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Moebius,
Cymande,
Desert Stars,
Chris & Cosey,
Basic Channel,
the Slits,
B.T. Express,
Clear Light,
Lower 48,
Main Source,
Gastr Del Sol,
Grandmaster Flash and the Furious Five,
The Slackers,
Peter & Gordon,
The Kinks,
Porter Ricks,
Unwound,
The Peanut Butter Conspiracy,
The United States of America,
Public Image Ltd.,
Juan Atkins,
Skriet,
Lou Reed & Metallica,
The Durutti Column,
David Bowie,
Parry Music,
Nick Fraelich,
Don Cherry,
Kango’s Stein Massive,
Stereo Dub,
Drive Like Jehu,
Accadde A,
Scott Walker,
Index,
Warsaw,
Drexciya,
Avey Tare's Slasher Flicks,
Unrelated Segments,
Nico,
Minnie Riperton,
Das Ding,
Bronski Beat,
Vladislav Delay,
X-101,
Camron Feat. Jay Z And Juelz,
Audionom,
Janne Schatter,
Chris Corsano,
cv313,
Shuggie Otis,
Masters at Work,
Flash Fearless,
The American Breed,
Inner City,
Black Pus,
Gang Gang Dance,
DJ Style,
Röyhkä ja Rättö ja Lehtisalo,
Procol Harum,
Shoche,
One Last Wish,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.