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 China and from London.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Cymande to the jazz kids.
I played it at Cafe Wha.
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 Richard Hell and the Voidoids. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every The Alarm Clocks 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
The Remains,
The Tremeloes,
Arab on Radar,
T.S.O.L.,
Model 500,
Rites of Spring,
Lungfish,
Jeff Mills,
Tears for Fears,
EPMD,
PIL,
Moebius,
Darondo,
Second Layer,
The Misunderstood,
Sexual Harrassment,
Organ,
Crooked Eye,
The Human League,
Stiv Bators,
Urselle,
Byron Stingily,
Magma,
Pole,
Lou Reed & Metallica,
Easy Going,
Symarip,
Scion,
Goldenarms,
Funkadelic,
Nation of Ulysses,
Lee Hazlewood,
Marcia Griffiths,
The Sonics,
Fad Gadget,
The Names,
John Holt,
The Knickerbockers,
Hot Snakes,
Joe Finger,
The Mummies,
Kurtis Blow,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fuzztones,
These Immortal Souls,
The Leaves,
MC5,
B.T. Express,
Khruangbin,
Fort Wilson Riot,
Scrapy,
Schoolly D,
Flamin' Groovies,
Erasure,
Drive Like Jehu,
Ultimate Spinach,
The Gladiators,
The Offenders,
Davy DMX,
Joensuu 1685,
Dark Day,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.