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 Montenegro and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Paris 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 808 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 Franke to the rap kids.
I played it at the Roxy.
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 Alphaville. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Groovy Waters,
Mary Jane Girls,
The Smiths,
T. Rex,
Television,
Lonnie Liston Smith,
The Mighty Diamonds,
X-102,
Bill Wells,
Throbbing Gristle,
Underground Resistance,
The Martian,
Andrew Hill,
Popol Vuh,
Fifty Foot Hose,
The Cure,
The Blackbyrds,
The Flesh Eaters,
Circle Jerks,
Larry & the Blue Notes,
Masters at Work,
Cluster,
London Community Gospel Choir,
Zapp,
Derrick Morgan,
Jesper Dahlback,
Funkadelic,
Lee Hazlewood,
Sun Ra,
Skarface,
KRS-One,
Malaria!,
The Cramps,
Boogie Down Productions,
Brand Nubian,
Royal Trux,
Cal Tjader,
The Chocolate Watch Band,
Aloha Tigers,
Bush Tetras,
Rhythm & Sound,
Crispian St. Peters,
Black Bananas,
Audionom,
Stereo Dub,
The Doors,
Bobbi Humphrey,
Ken Boothe,
Neu!,
Faraquet,
Rakim,
Marcia Griffiths,
Liliput,
Rowland S Howard / Lydia Lunch,
Joyce Sims,
Mantronix,
L. Decosne,
The Monochrome Set,
Bad Manners,
Susan Cadogan,
It's A Beautiful Day,
Maurizio, Maurizio, Maurizio, Maurizio.
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.