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 Costa Rica and from Manila.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school Sao Paulo 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 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 Oblivians to the jazz 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 Janne Schatter. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Lyres,
Shuggie Otis,
FM Einheit,
Slave,
Soft Machine,
Alison Limerick,
Black Bananas,
Tears for Fears,
Lou Reed,
The Toasters,
Aswad,
Röyhkä ja Rättö ja Lehtisalo,
Anthony Braxton,
Boz Scaggs,
Sex Pistols,
Lower 48,
Bush Tetras,
Yazoo,
Bill Near,
B.T. Express,
Bootsy Collins,
The Move,
The Evens,
Wasted Youth,
Leonard Cohen,
Altered Images,
Faust,
The Smoke,
Deadbeat,
Alice Coltrane,
MDC,
Little Man,
The Red Krayola,
These Immortal Souls,
Eli Mardock,
Orchestral Manoeuvres in the Dark,
Laurel Aitken,
AZ,
the Normal,
kango's stein massive,
Hashim,
Nick Fraelich,
Mr. Review,
Fatback Band,
The Martian,
Maurizio,
Eurythmics,
Mars,
New Order,
Mantronix,
Japan,
Janne Schatter,
Gil Scott Heron,
The Last Poets,
Bang on a Can All-Stars,
Tommy Roe,
Sandy B,
Black Flag,
Urselle,
Vaughan Mason & Crew,
Mad Mike,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.