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 Somalia and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Bologna and Madrid.
I'm losing my edge to the art-school Winnipeg 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 theremin 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 Alison Limerick to the grunge kids.
I played it at the Crocodile.
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 Terrestrial Tones. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Wasted Youth,
Vainqueur,
Monks,
Jesper Dahlbäck,
Model 500,
Byron Stingily,
Orchestral Manoeuvres in the Dark,
Kevin Saunderson,
The Techniques,
Morten Harket,
The Human League,
Eric Dolphy,
Goldenarms,
Nation of Ulysses,
Buzzcocks,
Popol Vuh,
Aswad,
Fad Gadget,
Organ,
Wire,
Jesper Dahlback,
Spoonie Gee,
Inner City,
Rod Modell,
Index,
the Bar-Kays,
The Cure,
Shuggie Otis,
Eric Copeland,
Dawn Penn,
Half Japanese,
Aloha Tigers,
Country Joe & The Fish,
the Human League,
The Gladiators,
Silicon Teens,
Bootsy Collins,
Echo & the Bunnymen,
Brick,
Marshall Jefferson,
John Coltrane,
Ossler,
Andrew Ashong & Theo Parrish,
Frankie Knuckles,
Chris & Cosey,
Mantronix,
Reagan Youth,
Gang Green,
DeepChord presents Echospace,
Harry Pussy,
Super Lover Cee & Casanova Rud,
Cheater Slicks,
Kool Moe Dee,
Howard Jones,
Animal Collective,
Loose Ends,
Interpol,
Cecil Taylor,
Basic Channel,
Public Image Ltd.,
Simply Red,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.