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 New Zealand and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Marvin Gaye to the dance kids.
I played it at the Crocodile.
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 Neon Judgement. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your organ and bought a theremin.
I hear that you and your band have sold your theremin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Gil Scott-Heron and Jamie xx,
The Last Poets,
The Walker Brothers,
Von Mondo,
Barrington Levy,
Lindisfarne,
New Age Steppers,
Hoover,
The Modern Lovers,
June of 44,
T. Rex,
Kas Product,
Oppenheimer Analysis,
Arthur Verocai,
Mantronix,
Pere Ubu,
Bob Dylan,
Ornette Coleman,
Ralphi Rosario,
Orchestral Manoeuvres in the Dark,
The Kinks,
Mad Mike,
The Chocolate Watch Band,
New York Dolls,
Khruangbin,
Terry Callier,
Avey Tare,
Swell Maps,
Quadrant,
Thinking Fellers Union Local 282,
R.M.O.,
Unrelated Segments,
the Sonics,
Ronan,
The Offenders,
The Men They Couldn't Hang,
Johnny Osbourne,
Fela Kuti,
Oneida,
U.S. Maple,
Joyce Sims,
Delon & Dalcan,
Aswad,
Pierre Henry,
Soft Cell,
Altered Images,
Quando Quango,
Vladislav Delay,
The Grass Roots,
Japan,
Teenage Jesus and the Jerks,
Wasted Youth,
Donny Hathaway,
Stiv Bators,
Tears for Fears,
The Happenings,
Davy DMX,
Jesper Dahlbäck,
Scratch Acid,
Aloha Tigers,
Roy Ayers,
Smog,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.