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 Thailand 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 1963 to 1972.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Woodstock 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 güiro 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 Zapp to the grime 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 DNA. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Gerry Rafferty,
Q65,
Masters at Work,
Eric B and Rakim,
Super Lover Cee & Casanova Rud,
This Heat,
Glambeats Corp.,
Oneida,
Michelle Simonal,
Bad Manners,
Aaron Thompson,
Skriet,
Silicon Teens,
Curtis Mayfield,
The Fugs,
Lucky Dragons,
Junior Murvin,
The Gories,
Fat Boys,
ABC,
The Grass Roots,
The Selecter,
Y Pants,
Barrington Levy,
Ultramagnetic MC's,
D'Angelo,
The Trojans,
Niagra,
Girls At Our Best!,
Man Parrish,
Tres Demented,
Pierre Henry,
Suburban Knight,
Shoche,
Japan,
Marvin Gaye,
John Foxx,
Roy Ayers Ubiquity,
Henry Cow,
AZ,
Trumans Water,
Theoretical Girls,
Agitation Free,
Dawn Penn,
Reagan Youth,
Graham Central Station,
Fear,
Boz Scaggs,
Rapeman,
Fatback Band,
Alison Limerick,
L. Decosne,
The Birthday Party,
K-Klass,
Black Moon,
Ken Boothe,
Gastr Del Sol,
James Chance & The Contortions,
Suicide,
Swell Maps,
Glenn Branca,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.