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 Mexico and from Copenhagen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Fela Kuti to the techno 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 Motions. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Liaisons Dangereuses,
CMW,
Sad Lovers and Giants,
Lebanon Hanover,
Althea and Donna,
Subhumans,
The Fuzztones,
Kool G Rap & DJ Polo,
E-Dancer,
Barbara Tucker,
Electric Light Orchestra,
Stereo Dub,
Swell Maps,
Michelle Simonal,
Terrestrial Tones,
Oblivians,
Cymande,
the Bar-Kays,
Jawbox,
The Angels of Light,
The Men They Couldn't Hang,
De La Soul & Jungle Brothers,
Quando Quango,
Ken Boothe,
Flash Fearless,
The Peanut Butter Conspiracy,
Audionom,
The Divine Comedy,
Susan Cadogan,
Aloha Tigers,
Strawberry Alarm Clock,
Angels of Light & Akron/Family,
F. McDonald,
The Invisible,
Simply Red,
Qualms,
Jandek,
Intrusion,
Davy DMX,
Lower 48,
Swans,
the Soft Cell,
Neil Young & Crazy Horse,
Johnny Clarke,
Nico,
David Axelrod,
Sonic Youth,
Cecil Taylor,
La Düsseldorf,
Eric Dolphy,
Agitation Free,
Iggy Pop,
Joyce Sims,
Pete Rock & C.L. Smooth,
Infiniti,
Fela Kuti,
Erasure,
Arthur Verocai,
China Crisis,
The Jesus and Mary Chain,
Fluxion, Fluxion, Fluxion, Fluxion.
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.