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 Germany and from Lyon.
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 1966 to 1974.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Beijing 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Soft Machine to the techno 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 Derrick Morgan. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every The Grass Roots 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes 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 Monks,
Buzzcocks,
The Vogues,
Jacob Miller,
Derrick Morgan,
Justin Hinds & The Dominoes,
Echo & the Bunnymen,
Fort Wilson Riot,
Slick Rick,
Deadbeat,
The Offenders,
Groovy Waters,
Cabaret Voltaire,
The Blackbyrds,
Eddi Front,
Robert Wyatt,
Moby Grape,
Josef K,
This Heat,
Janne Schatter,
Rites of Spring,
Franke,
The Angels of Light,
Niagra,
8 Eyed Spy,
Mary Jane Girls,
Kayak,
The Fortunes,
Fifty Foot Hose,
Rekid,
Gary Puckett & The Union Gap,
Angry Samoans,
Sun Ra,
The Last Poets,
Magazine,
The West Coast Pop Art Experimental Band,
The J.B.'s,
Depeche Mode,
Crash Course in Science,
X-102,
Main Source,
Teenage Jesus and the Jerks,
Charles Mingus,
Archie Shepp,
The Smiths,
Pete Rock & C.L. Smooth,
David Bowie,
X-Ray Spex,
Rhythim Is Rhythim,
Althea and Donna,
Röyhkä ja Rättö ja Lehtisalo,
Joensuu 1685,
Vaughan Mason & Crew,
Maleditus Sound,
Scrapy,
Dark Day,
E-Dancer,
Freddie Wadling,
Terrestrial Tones,
The Durutti Column,
Big Daddy Kane,
Intrusion, Intrusion, Intrusion, Intrusion.
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.