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 San Marino and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Paris and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 chamberlin 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 Alton Ellis to the dance kids.
I played it at Trash.
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 Avey Tare. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Roger Hodgson,
ABBA,
Von Mondo,
Gil Scott-Heron & Brian Jackson,
New Order,
The Slits,
The Jesus and Mary Chain,
Black Pus,
Lalo Schifrin,
Eric Copeland,
Carl Craig,
Boz Scaggs,
Slick Rick,
Ultravox,
Darondo,
KRS-One,
Max Romeo,
UT,
Red Lorry Yellow Lorry,
Faust,
Hasil Adkins,
Suicide,
The Velvet Underground,
Gabor Szabo,
Bush Tetras,
Nirvana,
Eddi Front,
Ralphi Rosario,
Wolf Eyes,
Sällskapet,
Donald Byrd,
Swell Maps,
Heavy D & The Boyz,
The Doors,
The Associates,
Be Bop Deluxe,
Section 25,
Skaos,
Tropical Tobacco,
Electric Light Orchestra,
Ultimate Spinach,
Thinking Fellers Union Local 282,
Bill Wells,
Junior Murvin,
PIL,
Terrestrial Tones,
Fort Wilson Riot,
Boogie Down Productions,
the Germs,
Desert Stars,
Charles Mingus,
Brass Construction,
Ten City,
Fela Kuti,
Tom Boy,
Reagan Youth,
Loose Ends,
Orchestral Manoeuvres in the Dark,
Urselle,
Nick Fraelich,
Electric Prunes,
Youth Brigade,
LL Cool J,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.