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 Honduras and from Portland.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Newcleus to the techno kids.
I played it at the Roxy.
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 Intrusion. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
James White and The Blacks,
Harmonia,
Chrome,
La Düsseldorf,
UT,
Gary Puckett & The Union Gap,
Rekid,
Basic Channel,
Glenn Branca,
Roy Ayers,
Aural Exciters,
Lee Hazlewood,
Black Pus,
Lonnie Liston Smith,
Bob Dylan,
Spandau Ballet,
Masters at Work,
Bluetip,
Be Bop Deluxe,
Selector Dub Narcotic,
Ornette Coleman,
Judy Mowatt,
Fad Gadget,
Soul Sonic Force,
The Fortunes,
Rosa Yemen,
Mad Mike,
Average White Band,
Crispian St. Peters,
The Electric Prunes,
Ice-T,
Vainqueur,
Connie Case,
Pete Rock & C.L. Smooth,
Technova,
Suburban Knight,
Rhythim Is Rhythim,
Davy DMX,
Anakelly,
The Golliwogs,
A Certain Ratio,
R.M.O.,
Barbara Tucker,
Nik Kershaw,
Slick Rick,
The Smiths,
Delon & Dalcan,
Tommy Roe,
Beasts of Bourbon,
Alice Coltrane,
ABBA,
World's Most,
New Age Steppers,
Young Marble Giants,
Matthew Bourne,
Althea and Donna,
Country Joe & The Fish,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.