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 Tajikistan and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1967 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Paris.
I'm losing my edge to the art-school Tehran 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Shoche to the rap 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 The Pretty Things. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
UT,
John Coltrane,
Subhumans,
Fad Gadget,
Boogie Down Productions,
Interpol,
FM Einheit,
Roxy Music,
Ultra Naté,
Chris & Cosey,
The Slits,
Swans,
Clear Light,
Stiv Bators,
Barry Ungar,
Deakin,
Sad Lovers and Giants,
Ultravox,
Mo-Dettes,
Morten Harket,
Bootsy's Rubber Band,
Black Sheep,
The Fuzztones,
Heavy D & The Boyz,
Heaven 17,
New Order,
Louis and Bebe Barron,
Laurel Aitken,
Radio Birdman,
Lou Reed & John Cale,
Easy Going,
Black Flag,
Lyres,
The Offenders,
John Foxx,
Cecil Taylor,
Yazoo,
Bobby Sherman,
Super Lover Cee & Casanova Rud,
Glambeats Corp.,
the Bar-Kays,
Boz Scaggs,
Camron Feat. Jay Z And Juelz,
The Seeds,
Lebanon Hanover,
The Standells,
Brand Nubian,
Mr. Review,
Grandmaster Flash and the Furious Five,
Jeff Mills,
James Chance & The Contortions,
Skarface,
Supertramp,
Lindisfarne,
Flash Fearless,
The Mojo Men,
Don Cherry,
Frankie Knuckles,
Scion,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.