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 Nepal and from Lyon.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 The Gladiators to the electroclash 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 Wings. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Byron Stingily 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 '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Jeru the Damaja,
U.S. Maple,
The Residents,
Oppenheimer Analysis,
The Selecter,
Blake Baxter,
James Chance & The Contortions,
Junior Murvin,
Vaughan Mason & Crew,
Swell Maps,
Yellowson,
Drive Like Jehu,
The Fortunes,
Siglo XX,
Chris Corsano,
Youth Brigade,
Visage,
Depeche Mode,
Amazonics,
Soft Cell,
Popol Vuh,
Cabaret Voltaire,
Public Image Ltd.,
Funky Four + One,
Index,
Gichy Dan,
Essential Logic,
Shuggie Otis,
Funkadelic,
Brass Construction,
Grauzone,
Sun City Girls,
Nas,
The Vogues,
Agent Orange,
The Men They Couldn't Hang,
Monolake,
LL Cool J,
Television,
Justin Hinds & The Dominoes,
Rekid,
Derrick Morgan,
Mission of Burma,
The United States of America,
Lou Reed,
Basic Channel,
Brothers Johnson,
Rites of Spring,
Bootsy's Rubber Band,
the Association,
Visionaries,LMNO, T- Love & Iriscience,
The Fall,
Danielle Patucci,
Wolf Eyes,
Procol Harum,
Young Marble Giants,
Pharoah Sanders,
London Community Gospel Choir,
Oneida,
Audionom,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.