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 Guinea and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Houston 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 mellotron 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 The Star Department to the rap 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 Harpers Bizarre. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Kerri Chandler,
The Modern Lovers,
Fat Boys,
Johnny Clarke,
Urselle,
Pussy Galore,
Adolescents,
Oblivians,
Pierre Henry,
Moby Grape,
The Barracudas,
LL Cool J,
The Neon Judgement,
Clear Light,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Second Layer,
Electric Light Orchestra,
cv313,
Eve St. Jones,
Fluxion,
Skarface,
Accadde A,
The Sound,
AZ,
The Blackbyrds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Franke,
Liliput,
Brass Construction,
The Black Dice,
Interpol,
Cheater Slicks,
Nik Kershaw,
Absolute Body Control,
Lucky Dragons,
The Star Department,
Roxy Music,
Gang Starr,
Ohio Players,
Model 500,
ABC,
The Smiths,
James White and The Blacks,
Bobby Hutcherson,
Mary Jane Girls,
Ten City,
48th St. Collective,
Kerrie Biddell,
Nils Olav,
Parry Music,
New York Dolls,
FM Einheit,
B.T. Express,
Michelle Simonal,
Talk Talk,
Tres Demented,
The Wake,
New Order,
The Angels of Light,
Albert Ayler,
Underground Resistance,
Ossler, Ossler, Ossler, Ossler.
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.