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 Belize and from Houston.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Jakarta 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 808 sounds with much patience.
I was there when Lou Reed 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 Symarip to the disco kids.
I played it at the Troubador.
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 Bauhaus. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Sonny Sharrock record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Fluxion,
L. Decosne,
Moebius,
Lou Reed & John Cale,
Piero Umiliani,
The Litter,
Television Personalities,
the Human League,
The Pretty Things,
Moby Grape,
Section 25,
Isaac Hayes,
Glambeats Corp.,
Easy Going,
Minnie Riperton,
Babytalk,
Sun Ra Arkestra,
Cal Tjader,
Eric B and Rakim,
Slave,
Pole,
Bobbi Humphrey,
Alphaville,
Funkadelic,
Terry Callier,
Brand Nubian,
The Monks,
Wolf Eyes,
Red Lorry Yellow Lorry,
Television,
Notorious Big And Bone Thugs,
Icehouse,
La Düsseldorf,
The Martian,
Roy Ayers Ubiquity,
Sight & Sound,
Goldenarms,
Manfred Mann's Earth Band,
Maleditus Sound,
Sarah Menescal,
Bauhaus,
Henry Cow,
The Young Rascals,
Little Man,
June Days,
Major Organ And The Adding Machine,
Franke,
The Motions,
Gang Starr,
Tropical Tobacco,
This Heat,
Big Daddy Kane,
The Doobie Brothers,
Marvin Gaye,
Grandmaster Flash,
Derrick Morgan,
Black Bananas,
Accadde A,
The Red Krayola,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.