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 Ireland and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Shanghai 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 synthesizer 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 Kevin Saunderson to the grunge kids.
I played it at the Troubador.
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 Nik Kershaw. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Chris Corsano record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Big Daddy Kane,
Marvin Gaye,
Peter & Gordon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Easy Going,
48th St. Collective,
Qualms,
The Names,
Neu!,
Jeff Mills,
Major Organ And The Adding Machine,
DJ Style,
Bang On A Can,
Terrestrial Tones,
Godley & Creme,
The Mojo Men,
10cc,
Pet Shop Boys,
Au Pairs,
Second Layer,
Black Pus,
Lou Reed & John Cale,
Sugar Minott,
Jawbox,
These Immortal Souls,
The Sound,
Reuben Wilson,
Pussy Galore,
Blake Baxter,
The J.B.'s,
Sarah Menescal,
The Pop Group,
Wasted Youth,
Larry & the Blue Notes,
June Days,
Oppenheimer Analysis,
Boz Scaggs,
Colin Newman,
Oneida,
Liaisons Dangereuses,
Ponytail,
Peter Gordon & Love of Life Orchestra,
ABBA,
Parry Music,
The Searchers,
Siglo XX,
Altered Images,
The Offenders,
Outsiders,
L. Decosne,
China Crisis,
Jesper Dahlbäck,
Funkadelic,
Con Funk Shun,
Sexual Harrassment,
Massinfluence,
Ice-T,
Aaron Thompson,
The Skatalites,
Crime, Crime, Crime, Crime.
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.