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 Comoros and from Tehran.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Manila.
I'm losing my edge to the art-school Johannesburg 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Scratch Acid to the funk kids.
I played it at the Troubador.
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 Marine Girls. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Andrew Ashong & Theo Parrish,
Quadrant,
Rekid,
Das Ding,
Panda Bear,
The Neon Judgement,
Deutsch Amerikanische Freundschaft,
Peter & Gordon,
Leonard Cohen,
Can,
Avey Tare's Slasher Flicks,
Malaria!,
Kool G Rap & DJ Polo,
The Blues Magoos,
Teenage Jesus and the Jerks,
Colin Newman,
The Happenings,
Section 25,
Robert Görl,
Barry Ungar,
John Foxx,
A Certain Ratio,
Joe Finger,
Dorothy Ashby,
Dual Sessions,
Inner City,
the Human League,
Manfred Mann's Earth Band,
Andrew Hill,
Second Layer,
Marcia Griffiths,
Ice-T,
The Smoke,
Simply Red,
Bobby Sherman,
Scratch Acid,
R.M.O.,
The Searchers,
The Human League,
Los Fastidios,
Reagan Youth,
Ludus,
The American Breed,
Neu!,
Tim Buckley,
The Dead C,
Joe Smooth,
La Düsseldorf,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Accadde A,
Cabaret Voltaire,
Silicon Teens,
10cc,
Boogie Down Productions,
X-Ray Spex,
Johnny Clarke,
Kool Moe Dee,
Anthony Braxton,
JFA,
Royal Trux,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.