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 Kyrgyzstan and from Philadelphia.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 CMW to the punk kids.
I played it at the Spitz.
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 Susan Cadogan. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Grandmaster Flash,
Loose Ends,
Minny Pops,
Deepchord,
Glenn Branca,
Rhythim Is Rhythim,
Panda Bear,
Flipper,
cv313,
The Monks,
Massinfluence,
The Fortunes,
Johnny Clarke,
Soul II Soul,
Lyres,
10cc,
The Standells,
Jeff Mills,
Orchestral Manoeuvres in the Dark,
Jerry's Kids,
Con Funk Shun,
Whodini,
Be Bop Deluxe,
Altered Images,
The Pop Group,
Arcadia,
Model 500,
Mission of Burma,
Janne Schatter,
Fad Gadget,
Louis and Bebe Barron,
Bang on a Can All-Stars,
T.S.O.L.,
The Smoke,
Slave,
The United States of America,
DNA,
Harry Pussy,
Minnie Riperton,
Morten Harket,
Stetsasonic,
Kool Moe Dee,
New Order,
Bootsy's Rubber Band,
Babytalk,
Bronski Beat,
Aswad,
Unrelated Segments,
Funky Four + One,
Wighnomy Brothers & Robag Wruhme,
The Real Kids,
Oblivians,
Gong,
Accadde A,
Duran Duran,
The Sonics,
Godley & Creme,
Eyeless In Gaza,
Toni Rubio,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.