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 Benin and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Hong Kong 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Pere Ubu to the funk 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 Desert Stars. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
The Wake,
Todd Rundgren,
Nils Olav,
Magma,
Marmalade,
Avey Tare & Kría Brekkan,
Dual Sessions,
Charles Mingus,
Dennis Brown,
Joe Smooth,
Soft Machine,
This Heat,
The Jesus and Mary Chain,
Royal Trux,
The Saints,
Camouflage,
Black Sheep,
Stetsasonic,
R.M.O.,
Index,
Chris & Cosey,
Camron Feat. Memphis Bleek And Beenie Seigel,
Terrestrial Tones,
Depeche Mode,
Jacques Brel,
Cheater Slicks,
The Neon Judgement,
Pantytec,
E-Dancer,
Howard Jones,
The Pretty Things,
The Sound,
Adolescents,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lou Christie,
Unrelated Segments,
Bauhaus,
Cluster,
New Order,
H. Thieme,
Lou Reed,
Bronski Beat,
Bang on a Can All-Stars,
Hasil Adkins,
Minor Threat,
Lindisfarne,
Strawberry Alarm Clock,
Model 500,
The Moody Blues,
Gastr Del Sol,
Lightning Bolt,
Nico,
Susan Cadogan,
Zero Boys,
The Skatalites,
Q and Not U,
The Monochrome Set,
Kevin Saunderson,
Terry Callier,
Amon Düül,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.