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 Taiwan and from Bremen.
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 Toronto and Mexico City.
I'm losing my edge to the art-school Toronto 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Rhythm & Sound to the dance 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 Grandmaster Flash. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every The Grass Roots 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Funky Four + One,
Unwound,
Beasts of Bourbon,
Mary Jane Girls,
Rowland S Howard / Lydia Lunch,
Hardrive,
Röyhkä ja Rättö ja Lehtisalo,
Selector Dub Narcotic,
Minny Pops,
E-Dancer,
The Techniques,
The Fugs,
London Community Gospel Choir,
The Monochrome Set,
The Mojo Men,
Amon Düül II,
Model 500,
Saccharine Trust,
Vaughan Mason & Crew,
Donny Hathaway,
Robert Hood,
The Star Department,
Michelle Simonal,
Minor Threat,
Stetsasonic,
EPMD,
The Litter,
Max Romeo,
Lou Reed & John Cale,
Marc Romboy vs. Booka Shade,
Eden Ahbez,
Robert Görl,
Gil Scott-Heron & Brian Jackson,
Pet Shop Boys,
Mantronix,
Eddi Front,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pantaleimon,
Slick Rick,
Sam Rivers,
Grandmaster Flash and the Furious Five,
The Five Americans,
The Neon Judgement,
Colin Newman,
Neil Young,
Fat Boys,
Lou Reed & Metallica,
Donald Byrd,
Dead Boys,
Sun City Girls,
The Selecter,
Eric Copeland,
Drive Like Jehu,
Girls At Our Best!,
One Last Wish,
Alton Ellis,
Kaleidoscope,
Urselle,
Infiniti,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.