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 Cyprus and from Winnipeg.
But I was there.
I was there in .
I was there at the first Suicide 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 1968 to 1975.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Johannesburg 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Ultra Naté to the techno 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 Buzzcocks. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Simply Red,
Negative Approach,
The Cramps,
Terrestrial Tones,
Scientists,
Symarip,
The Count Five,
Echospace,
Accadde A,
Kayak,
Magma,
Gang Starr,
Drive Like Jehu,
Bang on a Can All-Stars,
Lucky Dragons,
Royal Trux,
Half Japanese,
Eric B and Rakim,
Liliput,
Los Fastidios,
Pulsallama,
DNA,
Quantec,
Strawberry Alarm Clock,
Archie Shepp,
Avey Tare & Kría Brekkan,
Red Lorry Yellow Lorry,
Bang On A Can,
the Sonics,
The Tremeloes,
the Fania All-Stars,
Altered Images,
Godley & Creme,
the Association,
Make Up,
Toni Rubio,
Brick,
Davy DMX,
Radiopuhelimet,
Lou Reed,
Bluetip,
Boogie Down Productions,
Pere Ubu,
Ornette Coleman,
The Misunderstood,
The Electric Prunes,
Johnny Clarke,
Aswad,
Kango’s Stein Massive,
Sun City Girls,
T.S.O.L.,
FM Einheit,
Ohio Players,
Minnie Riperton,
Erasure,
Kaleidoscope,
Eurythmics,
Section 25, Section 25, Section 25, Section 25.
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.