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 Iraq and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Taipei 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 organ 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 Scan 7 to the disco kids.
I played it at the Astoria.
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 Pierre Henry. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
It's A Beautiful Day,
Alison Limerick,
Idris Muhammad,
Bobby Hutcherson,
Bobby Womack,
KRS-One,
Peter and Kerry,
Absolute Body Control,
Cheater Slicks,
Sandy B,
Talk Talk,
Derrick Morgan,
Roxy Music,
Eddi Front,
Nico,
Mission of Burma,
The Index,
The Monks,
B.T. Express,
The Wake,
Monks,
Avey Tare & Kría Brekkan,
the Fania All-Stars,
Jacob Miller,
David Axelrod,
The Victims,
Thee Headcoats,
The Fugs,
Barry Ungar,
DJ Style,
Eli Mardock,
Man Eating Sloth,
Camouflage,
The Moody Blues,
Icehouse,
Gang Green,
The Red Krayola,
The Stooges,
Kayak,
Althea and Donna,
Lonnie Liston Smith,
Reuben Wilson,
Thinking Fellers Union Local 282,
Donny Hathaway,
Bob Dylan,
Nas,
Deutsch Amerikanische Freundschaft,
Darondo,
Ten City,
Girls At Our Best!,
Yazoo,
Wighnomy Brothers & Robag Wruhme,
The Alarm Clocks,
Jimmy McGriff,
The American Breed,
Skaos,
Barbara Tucker,
Byron Stingily,
The Neon Judgement,
Magma,
Glenn Branca,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.