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 Australia and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1975.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Accra 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 chamberlin 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 Joe Smooth to the jazz kids.
I played it at Cafe Wha.
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 Fear. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Trumans Water 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Susan Cadogan,
Larry & the Blue Notes,
Deutsch Amerikanische Freundschaft,
Sound Behaviour,
The Cosmic Jokers,
The Gap Band,
Kool G Rap & DJ Polo,
Bill Wells,
Trumans Water,
Spandau Ballet,
Moby Grape,
Lyres,
Depeche Mode,
Crime,
R.M.O.,
Lalo Schifrin,
Popol Vuh,
The Vogues,
Skarface,
Sight & Sound,
Chris Corsano,
Section 25,
Joe Finger,
Wighnomy Brothers & Robag Wruhme,
the Association,
The Fugs,
E-Dancer,
Brothers Johnson,
Grandmaster Flash and the Furious Five,
Carl Craig,
Qualms,
Pussy Galore,
Kauko Röyhkä ja Narttu,
Morten Harket,
Black Bananas,
The Knickerbockers,
Alphaville,
Ponytail,
Nirvana,
Magma,
Excepter,
Gabor Szabo,
The Real Kids,
Funky Four + One,
Fifty Foot Hose,
Ash Ra Tempel,
Rapeman,
EPMD,
Agent Orange,
Frankie Knuckles,
the Bar-Kays,
Guru Guru,
Sparks,
the Slits,
Magazine,
The United States of America,
Quantec,
Scientists,
Second Layer,
One Last Wish,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.