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 Ecuador and from Tokyo.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Accra 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 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 Johnny Clarke to the rap 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 June Days. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
DJ Style,
La Düsseldorf,
Rhythim Is Rhythim,
Fad Gadget,
The Monochrome Set,
Interpol,
Grey Daturas,
Skaos,
Lou Reed,
Pete Rock & C.L. Smooth,
Sarah Menescal,
Bootsy Collins,
Siouxsie and the Banshees,
Alton Ellis,
Pharaoh Sanders and the Fire Engines,
Juan Atkins,
Minutemen,
Peter & Gordon,
Bang On A Can,
Jacob Miller,
The Beau Brummels,
Bauhaus,
Suburban Knight,
Technova,
Quadrant,
Japan,
Moss Icon,
Todd Rundgren,
The Detroit Cobras,
Max Romeo,
The Evens,
The Smoke,
The Blackbyrds,
The Modern Lovers,
Derrick May,
Lizzy Mercier Descloux,
De La Soul & Jungle Brothers,
Scientists,
The Stooges,
Ohio Players,
the Germs,
kango's stein massive,
Ituana,
Bobby Womack,
Avey Tare & Kría Brekkan,
10cc,
Niagra,
The Associates,
Gastr Del Sol,
Black Flag,
Von Mondo,
Siglo XX,
Kauko Röyhkä ja Narttu,
Qualms,
Connie Case,
Jesper Dahlback,
Sound Behaviour,
Roxy Music,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.