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 Colombia and from Madrid.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 48th St. Collective to the techno kids.
I played it at the Spitz.
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 Drive Like Jehu. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Piero Umiliani 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Bootsy's Rubber Band,
Rhythm & Sound,
Urselle,
Alphaville,
Heaven 17,
The New Christs,
Rotary Connection,
The Raincoats,
Deadbeat,
Sällskapet,
Big Daddy Kane,
Quando Quango,
Man Parrish,
The Fire Engines,
Danielle Patucci,
Ossler,
Gang Green,
Lakeside,
Loose Ends,
Sonic Youth,
Fear,
Kool Moe Dee,
Sam Rivers,
ABC,
The Standells,
Eric B and Rakim,
Lucky Dragons,
Ohio Players,
Minnie Riperton,
Judy Mowatt,
The Misunderstood,
James White and The Blacks,
Marc Almond,
Main Source,
The Fuzztones,
The Divine Comedy,
Joy Division,
Shuggie Otis,
Kool G Rap & DJ Polo,
Joe Smooth,
Blake Baxter,
Youth Brigade,
Pulsallama,
James Chance & The Contortions,
Warren Ellis,
Rekid,
Tom Boy,
Hot Snakes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jesper Dahlback,
Brick,
Girls At Our Best!,
Röyhkä ja Rättö ja Lehtisalo,
Qualms,
Gabor Szabo,
Peter & Gordon,
E-Dancer,
Tres Demented,
Nation of Ulysses,
Cymande,
Pagans,
Rowland S Howard / Lydia Lunch,
Kas Product, Kas Product, Kas Product, Kas Product.
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.