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 Brazil and from Milan.
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 1979.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Gil Scott-Heron and Jamie xx to the grunge 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 Nas. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Cluster,
Average White Band,
Skriet,
Bush Tetras,
Soft Cell,
Lightning Bolt,
Sex Pistols,
Sonny Sharrock,
Drive Like Jehu,
Scan 7,
Justin Hinds & The Dominoes,
Wighnomy Brothers & Robag Wruhme,
Traffic Nightmare,
Bauhaus,
Warren Ellis,
Dave Gahan,
Tropical Tobacco,
The Blackbyrds,
Vladislav Delay,
Brick,
Masters at Work,
Fort Wilson Riot,
Amazonics,
Visage,
Jesper Dahlbäck,
Sparks,
Cameo,
Jimmy McGriff,
Porter Ricks,
The Martian,
Drexciya,
Slick Rick,
Chrome,
Accadde A,
Yaz,
Wings,
Glenn Branca,
Ponytail,
Graham Central Station,
CMW,
The Blues Magoos,
Subhumans,
Oppenheimer Analysis,
June of 44,
Suicide,
The Five Americans,
Avey Tare & Kría Brekkan,
Lizzy Mercier Descloux,
Shoche,
Bootsy's Rubber Band,
Gil Scott-Heron and Jamie xx,
Pet Shop Boys,
Max Romeo,
Andrew Hill,
Skarface,
the Soft Cell,
The Kinks,
Albert Ayler,
Schoolly D,
Dual Sessions,
Magazine,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.