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 Burkina and from Sao Paulo.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school Beijing 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Girls At Our Best! to the electroclash kids.
I played it at Cafe Wha.
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 Tropical Tobacco. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
John Holt,
Electric Prunes,
The Dave Clark Five,
The Black Dice,
Ludus,
The Motions,
Fad Gadget,
Judy Mowatt,
Icehouse,
Kango’s Stein Massive,
Guru Guru,
Japan,
Cymande,
Suburban Knight,
Yellowson,
Marc Romboy vs. Booka Shade,
Massinfluence,
The Doobie Brothers,
Dead Boys,
Gary Puckett & The Union Gap,
Alton Ellis,
Mission of Burma,
Lower 48,
Public Image Ltd.,
Stereo Dub,
Gabor Szabo,
Harmonia,
June of 44,
Tomorrow,
Erasure,
The Neon Judgement,
Depeche Mode,
Kaleidoscope,
Circle Jerks,
Charles Mingus,
Eric B and Rakim,
Junior Murvin,
Wolf Eyes,
Sound Behaviour,
World's Most,
the Fania All-Stars,
The Cramps,
Rahsaan Roland Kirk,
Loose Ends,
The Monks,
Sam Rivers,
the Association,
Clear Light,
Morten Harket,
John Lydon,
T. Rex,
The Vogues,
Bobbi Humphrey,
The Grass Roots,
Duran Duran,
The Names,
Reagan Youth,
Jesper Dahlbäck,
Quadrant,
Neil Young,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.