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 Tehran.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Tehran and Jakarta.
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 chamberlin 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 Lebanon Hanover to the techno kids.
I played it at the Crocodile.
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 Little Man. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Jerry Gold Smith 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 '90s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Rahsaan Roland Kirk,
Aswad,
Derrick May,
Lungfish,
Anakelly,
Pete Rock & C.L. Smooth,
Pulsallama,
Gichy Dan,
Heaven 17,
Dennis Brown,
K-Klass,
Kurtis Blow,
The Cramps,
The Tremeloes,
The Beau Brummels,
June of 44,
Selector Dub Narcotic,
Joensuu 1685,
Alton Ellis,
Donny Hathaway,
Stereo Dub,
The Dead C,
Goldenarms,
Alphaville,
Circle Jerks,
Chris Corsano,
Basic Channel,
The Walker Brothers,
Jandek,
OOIOO,
Kas Product,
Soulsonic Force,
Saccharine Trust,
Easy Going,
Fugazi,
Deakin,
Arthur Verocai,
Lucky Dragons,
Lonnie Liston Smith,
Joey Negro,
Magma,
The Moleskins,
Hashim,
The Gladiators,
The Fortunes,
Massinfluence,
Brick,
Section 25,
Depeche Mode,
Kaleidoscope,
Eden Ahbez,
Roxette,
PIL,
Youth Brigade,
Ohio Players,
Major Organ And The Adding Machine,
Man Eating Sloth,
L. Decosne,
Country Joe & The Fish,
Royal Trux,
Eddi Front,
The Victims,
Lower 48, Lower 48, Lower 48, Lower 48.
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.