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 Saudi Arabia and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Spokane 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 linndrum 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 Gong to the jazz 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 Ten City. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every the Swans 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 '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 Minnie Riperton record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Model 500,
Pharaoh Sanders and the Fire Engines,
Adolescents,
Pylon,
Severed Heads,
Alison Limerick,
Morten Harket,
Junior Murvin,
Dawn Penn,
Kool G Rap & DJ Polo,
Masters at Work,
Swell Maps,
Mark Hollis,
Graham Central Station,
OOIOO,
Wighnomy Brothers & Robag Wruhme,
Judy Mowatt,
The Vogues,
Marshall Jefferson,
Lebanon Hanover,
Gang of Four,
Underground Resistance,
Excepter,
Scratch Acid,
Magma,
It's A Beautiful Day,
Marine Girls,
Procol Harum,
Slick Rick,
Sight & Sound,
Kerrie Biddell,
Joensuu 1685,
Sly & The Family Stone,
The Raincoats,
DNA,
Charles Mingus,
The Busters,
Arthur Verocai,
Lucky Dragons,
The Misunderstood,
Trumans Water,
Todd Rundgren,
Yusef Lateef,
Guru Guru,
Animal Collective,
The Names,
Mandrill,
Funkadelic,
Beasts of Bourbon,
Moebius,
The Monochrome Set,
Ash Ra Tempel,
Gong,
Heavy D & The Boyz,
Lightning Bolt,
Stereo Dub,
Bill Near,
Pussy Galore,
Hoover, Hoover, Hoover, Hoover.
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.