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 Maldives and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Accra 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 Captain Beefheart 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 Sexual Harrassment to the jazz kids.
I played it at the Hacienda.
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 Country Joe & The Fish. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Marcia Griffiths,
the Germs,
DJ Style,
Minutemen,
DeepChord presents Echospace,
Delta 5,
Kauko Röyhkä ja Narttu,
De La Soul & Jungle Brothers,
The Buckinghams,
The Sisters of Mercy,
Malaria!,
Brothers Johnson,
The Modern Lovers,
Johnny Osbourne,
Magazine,
The Pop Group,
One Last Wish,
Crispian St. Peters,
Frankie Knuckles,
Funkadelic,
Whodini,
Jimmy McGriff,
Lightning Bolt,
Donald Byrd,
The Dead C,
Derrick Morgan,
Harpers Bizarre,
Zapp,
Danielle Patucci,
Young Marble Giants,
The Fuzztones,
It's A Beautiful Day,
Notorious Big And Bone Thugs,
The Black Dice,
Dual Sessions,
Johnny Clarke,
Aswad,
the Slits,
The American Breed,
Lalann,
Make Up,
Nik Kershaw,
Bauhaus,
Von Mondo,
Sixth Finger,
The Motions,
Crispy Ambulance,
Dawn Penn,
Hardrive,
Sun Ra Arkestra,
Sam Rivers,
Procol Harum,
The Cosmic Jokers,
Ornette Coleman,
The Techniques,
Soft Cell,
The Music Machine,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.