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 Albania and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Lille 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 Nile Rodgers 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 Ken Boothe to the jazz kids.
I played it at the Hacienda.
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 Man Eating Sloth. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Kurtis Blow,
Schoolly D,
AZ,
Joe Smooth,
Audionom,
Reuben Wilson,
Bill Near,
ABBA,
China Crisis,
Blake Baxter,
Soul II Soul,
Sällskapet,
Joensuu 1685,
Mandrill,
The Gap Band,
Fifty Foot Hose,
The Young Rascals,
Curtis Mayfield,
Eli Mardock,
Colin Newman,
Flamin' Groovies,
Scott Walker + Sunn O))),
Red Lorry Yellow Lorry,
Junior Murvin,
Half Japanese,
Faust,
T.S.O.L.,
DJ Sneak,
Jacob Miller,
Mission of Burma,
Jandek,
Minny Pops,
Depeche Mode,
Flash Fearless,
Supertramp,
Pulsallama,
The Index,
New York Dolls,
Index,
Country Teasers,
The Fortunes,
B.T. Express,
Sunsets and Hearts,
Simply Red,
Nation of Ulysses,
Liliput,
Scratch Acid,
Pierre Henry,
Pete Rock & C.L. Smooth,
Teenage Jesus and the Jerks,
Louis and Bebe Barron,
Lonnie Liston Smith,
Essential Logic,
Wire,
Bobby Hutcherson,
Juan Atkins,
Magma,
Avey Tare's Slasher Flicks,
Wasted Youth,
Pharaoh Sanders and the Fire Engines,
Connie Case,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.