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 Iran and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator 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 Cecil Taylor to the techno kids.
I played it at the Roxy.
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 David Axelrod. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Eurythmics 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 '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Tom Boy,
EPMD,
Pylon,
Bad Manners,
The Shadows of Knight,
Cecil Taylor,
Parry Music,
The Monochrome Set,
Circle Jerks,
Funky Four + One,
Ash Ra Tempel,
Mission of Burma,
Ultravox,
Anthony Braxton,
The Knickerbockers,
Larry & the Blue Notes,
Organ,
Saccharine Trust,
Kool Moe Dee,
Alison Limerick,
The Selecter,
The Electric Prunes,
Rhythim Is Rhythim,
Notorious Big And Bone Thugs,
Jawbox,
Marshall Jefferson,
Fluxion,
Vainqueur,
Sex Pistols,
Eyeless In Gaza,
Bobby Womack,
Barclay James Harvest,
Basic Channel,
Andrew Hill,
Crispy Ambulance,
CMW,
Eric Copeland,
Aural Exciters,
Neil Young & Crazy Horse,
Metal Thangz,
Roxy Music,
Funkadelic,
Sällskapet,
Janne Schatter,
Nas,
Marc Almond,
London Community Gospel Choir,
Country Joe & The Fish,
Unrelated Segments,
Minnie Riperton,
Rhythm & Sound,
Avey Tare & Kría Brekkan,
The Techniques,
Pole,
Strawberry Alarm Clock,
the Association,
The Gap Band,
Harmonia,
the Fania All-Stars,
The Offenders,
Ossler, Ossler, Ossler, Ossler.
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.