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 Croatia and from Columbus.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
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 oboe sounds with much patience.
I was there when Robert Palmer 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 AZ to the crunk kids.
I played it at the 40 Watt.
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 Dennis Brown. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Todd Terry 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Cabaret Voltaire,
R.M.O.,
Sticky Fingaz feat. Raekwon,
Rotary Connection,
Pantytec,
The Black Dice,
The Evens,
Man Parrish,
The Jesus and Mary Chain,
The Gun Club,
Marmalade,
Sarah Menescal,
Jimmy McGriff,
Terrestrial Tones,
Bobby Byrd,
Japan,
The Dirtbombs,
the Swans,
Morten Harket,
The Slackers,
Massinfluence,
Red Lorry Yellow Lorry,
Bush Tetras,
Terry Callier,
Kayak,
Hasil Adkins,
Pole,
Black Pus,
Roger Hodgson,
Metal Thangz,
Kool Moe Dee,
Siouxsie and the Banshees,
New York Dolls,
Unwound,
Visage,
Dead Boys,
Guru Guru,
Bang on a Can All-Stars,
Main Source,
Minnie Riperton,
Panda Bear,
Scott Walker + Sunn O))),
Soul II Soul,
JFA,
Popol Vuh,
Eddi Front,
Hoover,
Khruangbin,
Sandy B,
Mandrill,
Bobby Womack,
Grandmaster Flash and the Furious Five,
The Leaves,
Peter and Kerry,
Scientists,
Anthony Braxton,
Young Marble Giants,
The J.B.'s,
Interpol,
Rod Modell,
Kaleidoscope,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.