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 Cambodia and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Main Source to the rap kids.
I played it at the Troubador.
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 The Peanut Butter Conspiracy. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every David Bowie 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Amon Düül II,
Sex Pistols,
Easy Going,
Ash Ra Tempel,
Bootsy Collins,
The Techniques,
Alice Coltrane,
Scott Walker,
Jesper Dahlback,
Newcleus,
Drexciya,
Mad Mike,
Godley & Creme,
Liaisons Dangereuses,
Brand Nubian,
Eric Dolphy,
New Order,
Anakelly,
Ituana,
Young Marble Giants,
Lou Reed & John Cale,
Crime,
Chris Corsano,
The Busters,
The West Coast Pop Art Experimental Band,
The Saints,
Pete Rock & C.L. Smooth,
Kool G Rap & DJ Polo,
Roxy Music,
Soulsonic Force,
Cybotron,
The Red Krayola,
Visionaries,LMNO, T- Love & Iriscience,
Aloha Tigers,
Dorothy Ashby,
Nick Fraelich,
Peter Gordon & Love of Life Orchestra,
The Jesus and Mary Chain,
Ice-T,
Anthony Braxton,
The Count Five,
Ludus,
Bobby Sherman,
Jacob Miller,
the Normal,
Ronan,
The Kinks,
Sun City Girls,
Shoche,
The Gap Band,
Flash Fearless,
Gastr Del Sol,
The Victims,
The Dirtbombs,
Eurythmics,
Swell Maps,
Kings Of Tomorrow,
The Zeros,
Frankie Knuckles,
Kayak,
The Star Department, The Star Department, The Star Department, The Star Department.
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.