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 San Marino and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1972.
I'm losing my edge.
To all the kids in Madrid and Accra.
I'm losing my edge to the art-school Seoul 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 cv313 to the grunge kids.
I played it at CBGB's.
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 Erykah Badu. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Blossom Toes 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
The Doors,
Black Flag,
Pierre Henry,
Yellowson,
Archie Shepp,
The Velvet Underground,
Johnny Clarke,
Graham Central Station,
Livin' Joy,
the Bar-Kays,
Red Lorry Yellow Lorry,
Gabor Szabo,
Tropical Tobacco,
Wasted Youth,
The Leaves,
The Victims,
Gian Franco Pienzio,
The Mojo Men,
Mary Jane Girls,
Roxy Music,
Rahsaan Roland Kirk,
Kool Moe Dee,
Masters at Work,
The Last Poets,
Organ,
Delon & Dalcan,
The Electric Prunes,
The Raincoats,
Jesper Dahlback,
The Offenders,
Scientists,
Bob Dylan,
Barry Ungar,
The Count Five,
Goldenarms,
Section 25,
Animal Collective,
Youth Brigade,
Roy Ayers Ubiquity,
Eve St. Jones,
Cluster,
the Slits,
Jacques Brel,
Reuben Wilson,
Harry Pussy,
The Standells,
Eli Mardock,
Boogie Down Productions,
Eyeless In Gaza,
Deepchord,
Agitation Free,
Ponytail,
The Mummies,
Flipper,
World's Most,
The Seeds,
Scratch Acid,
U.S. Maple,
Roger Hodgson,
Schoolly D,
Minor Threat,
Art Ensemble Of Chicago,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.