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 Vietnam and from Houston.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Lagos 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the organ 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 Desert Stars to the techno 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 Boredoms. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every the Bar-Kays 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Mars,
Yellowson,
Peter and Kerry,
Icehouse,
Traffic Nightmare,
Moss Icon,
Sun Ra Arkestra,
The Peanut Butter Conspiracy,
Depeche Mode,
Scientists,
Kurtis Blow,
Excepter,
Nico,
Faust,
Subhumans,
Kool G Rap & DJ Polo,
Funky Four + One,
Gong,
Essential Logic,
Barbara Tucker,
Tom Boy,
The Names,
The Offenders,
The Kinks,
the Soft Cell,
Aural Exciters,
Gastr Del Sol,
Lyres,
Scott Walker,
The Buckinghams,
Selector Dub Narcotic,
Smog,
Isaac Hayes,
Magazine,
Organ,
Gregory Isaacs,
Ken Boothe,
Pantytec,
The Blackbyrds,
Scan 7,
Siglo XX,
Metal Thangz,
Fad Gadget,
Don Cherry,
Bizarre Inc.,
Fort Wilson Riot,
Eli Mardock,
Jeff Mills,
Masters at Work,
Andrew Hill,
Cal Tjader,
Erasure,
Mark Hollis,
Crispian St. Peters,
Richard Hell and the Voidoids,
Roy Ayers,
Avey Tare,
Notorious Big And Bone Thugs,
The Seeds,
The Searchers,
Deadbeat,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.