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 Marshall Islands and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school New York 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 theremin sounds with much patience.
I was there when Lou Reed 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 Boz Scaggs to the techno 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 The Doobie Brothers. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Matthew Bourne,
Fatback Band,
Eric Dolphy,
Bill Wells,
Laurel Aitken,
The Seeds,
FM Einheit,
Lungfish,
Bang on a Can All-Stars,
Rufus Thomas,
Procol Harum,
Q65,
The Blackbyrds,
DeepChord presents Echospace,
Pere Ubu,
The Monochrome Set,
The Techniques,
Mr. Review,
Swell Maps,
Darondo,
Alice Coltrane,
Andrew Hill,
Clear Light,
Country Joe & The Fish,
Model 500,
Drive Like Jehu,
X-101,
Junior Murvin,
Von Mondo,
Audionom,
Peter and Kerry,
Silicon Teens,
Yusef Lateef,
Trumans Water,
Barry Ungar,
The Sound,
Radio Birdman,
The Fortunes,
Susan Cadogan,
Fat Boys,
the Fania All-Stars,
Bizarre Inc.,
Cybotron,
H. Thieme,
Minor Threat,
Suburban Knight,
The Leaves,
Jerry's Kids,
Neu!,
Angry Samoans,
Bootsy's Rubber Band,
Jacques Brel,
Grandmaster Flash and the Furious Five,
Livin' Joy,
X-102,
F. McDonald,
Skriet,
Massinfluence,
Lebanon Hanover,
Parry Music,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.