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 Cambodia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school Madrid 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 snare sounds with much patience.
I was there when Lou Reed 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 48th St. Collective to the dance kids.
I played it at the Astoria.
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 Rhythm & Sound. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Funky Four + One,
Roy Ayers Ubiquity,
Saccharine Trust,
Andrew Hill,
Mission of Burma,
Ronan,
The Count Five,
K-Klass,
Drexciya,
Kerri Chandler,
Bizarre Inc.,
The Royal Family And The Poor,
Rakim,
Bronski Beat,
Fort Wilson Riot,
CMW,
La Düsseldorf,
The Moleskins,
Red Lorry Yellow Lorry,
Maurizio,
Alton Ellis,
Camouflage,
DJ Sneak,
The Modern Lovers,
Das Ding,
The Skatalites,
Sister Nancy,
Sunsets and Hearts,
Essential Logic,
Bobby Womack,
The Trojans,
Sun Ra Arkestra,
Albert Ayler,
Tommy Roe,
The Music Machine,
Motorama,
Girls At Our Best!,
Deutsch Amerikanische Freundschaft,
Jerry Gold Smith,
Harpers Bizarre,
Adolescents,
Skaos,
Niagra,
T.S.O.L.,
World's Most,
The Electric Prunes,
Pharoah Sanders,
Delon & Dalcan,
The Divine Comedy,
the Germs,
Sixth Finger,
Bill Wells,
Alice Coltrane,
Pharaoh Sanders and the Fire Engines,
Gian Franco Pienzio,
Jandek,
Shoche,
Nils Olav,
Soul II Soul,
Darondo,
Nirvana,
Zero Boys,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.