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 Botswana and from Lille.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Woodstock 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 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 Isaac Hayes to the grime kids.
I played it at the 40 Watt.
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 Banda Bassotti. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erykah Badu,
Buzzcocks,
Bronski Beat,
Lalo Schifrin,
the Association,
Gian Franco Pienzio,
Sällskapet,
Toni Rubio,
June of 44,
Silicon Teens,
The Index,
Archie Shepp,
a-ha,
Gang Gang Dance,
Alphaville,
New York Dolls,
The Gun Club,
Letta Mbulu,
Ultravox,
Lebanon Hanover,
The Gladiators,
The Birthday Party,
Interpol,
Roxy Music,
Fatback Band,
The Dirtbombs,
Thompson Twins,
Tom Boy,
Al Stewart,
Ralphi Rosario,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Half Japanese,
the Swans,
Boz Scaggs,
Y Pants,
Soul Sonic Force,
The Pretty Things,
Circle Jerks,
The Count Five,
MDC,
EPMD,
Davy DMX,
Sandy B,
Nils Olav,
John Foxx,
Michelle Simonal,
Quantec,
Crispy Ambulance,
Franke,
Visionaries,LMNO, T- Love & Iriscience,
F. McDonald,
Guru Guru,
Judy Mowatt,
The Zeros,
DJ Style,
Sight & Sound,
Sound Behaviour,
Rekid,
AZ,
Red Lorry Yellow Lorry,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.