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 Armenia and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lagos and Mexico City.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when David Bowie 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 Faraquet to the crunk kids.
I played it at the Crocodile.
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 Siouxsie and the Banshees. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Jacob Miller 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Ralphi Rosario,
Don Cherry,
Eden Ahbez,
Marc Romboy vs. Booka Shade,
Dead Boys,
Rosa Yemen,
Delon & Dalcan,
Mission of Burma,
Juan Atkins,
Gil Scott-Heron & Brian Jackson,
Kurtis Blow,
KRS-One,
Electric Prunes,
Colin Newman,
X-101,
Crash Course in Science,
Camberwell Now,
Scan 7,
Porter Ricks,
Ice-T,
Jacob Miller,
Teenage Jesus and the Jerks,
Soul Sonic Force,
Bluetip,
48th St. Collective,
Minutemen,
Scientists,
Maleditus Sound,
Archie Shepp,
a-ha,
The Leaves,
DJ Style,
Swans,
Black Sheep,
Quando Quango,
Lyres,
Theoretical Girls,
Eric Dolphy,
Soft Cell,
E-Dancer,
Dennis Brown,
the Swans,
Warsaw,
Slave,
Erasure,
Mad Mike,
JFA,
Cecil Taylor,
Gian Franco Pienzio,
Joensuu 1685,
Sex Pistols,
R.M.O.,
The Red Krayola,
The Names,
The Electric Prunes,
Nas,
Super Lover Cee & Casanova Rud,
Lizzy Mercier Descloux,
Cybotron, Cybotron, Cybotron, Cybotron.
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.