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 Malawi and from Manchester.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lagos and Madrid.
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 snare 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 Tomorrow to the jazz 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 Marcia Griffiths. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
The Remains,
Interpol,
Avey Tare & Kría Brekkan,
Rahsaan Roland Kirk,
Harry Pussy,
MDC,
Massinfluence,
The Zeros,
Unrelated Segments,
Lungfish,
Pantytec,
Eve St. Jones,
Donny Hathaway,
Leonard Cohen,
Talk Talk,
Iggy Pop,
The Moody Blues,
Man Parrish,
Bauhaus,
Depeche Mode,
Sugar Minott,
The Fire Engines,
Reuben Wilson,
Kas Product,
The United States of America,
Grandmaster Flash and the Furious Five,
Camron Feat. Jay Z And Juelz,
The Leaves,
Chris & Cosey,
Ossler,
Sunsets and Hearts,
Laurel Aitken,
ABC,
Altered Images,
Pole,
Goldenarms,
The Chocolate Watch Band,
Index,
Royal Trux,
Anakelly,
John Foxx,
The Sound,
Monolake,
Althea and Donna,
The New Christs,
Roy Ayers Ubiquity,
The Velvet Underground,
Electric Light Orchestra,
Main Source,
Motorama,
Banda Bassotti,
the Bar-Kays,
The Last Poets,
Adolescents,
Bill Wells,
Fad Gadget,
John Lydon,
Scientists,
Colin Newman,
Kauko Röyhkä ja Narttu,
Nas, Nas, Nas, Nas.
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.