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 Suriname and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1972.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Manila 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 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 Hashim to the grime 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 Thee Headcoats. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Sun City Girls 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Terrestrial Tones,
Flash Fearless,
Ronan,
Kango’s Stein Massive,
The Gun Club,
Peter & Gordon,
The Neon Judgement,
Crime,
Newcleus,
Reagan Youth,
Cal Tjader,
Shoche,
Gang of Four,
Ajijia Myrayebe,
Sparks,
Don Cherry,
Magazine,
The Names,
Pete Rock & C.L. Smooth,
Brass Construction,
Main Source,
Bizarre Inc.,
Franke,
MC5,
Section 25,
Wire,
Underground Resistance,
The Velvet Underground,
Laurel Aitken,
It's A Beautiful Day,
Joyce Sims,
Bobby Hutcherson,
The Human League,
Mars,
Louis and Bebe Barron,
DJ Sneak,
Marc Romboy vs. Booka Shade,
The Mighty Diamonds,
Kas Product,
Letta Mbulu,
Urselle,
Grey Daturas,
Man Parrish,
Scott Walker,
Duran Duran,
Fifty Foot Hose,
Mandrill,
the Normal,
Silicon Teens,
Suburban Knight,
Das Ding,
Radio Birdman,
The Wake,
Rosa Yemen,
The Moleskins,
Animal Collective,
Interpol,
K-Klass,
Archie Shepp,
Jacob Miller,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.