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 Iran and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Hong Kong 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 808 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 Piero Umiliani to the electroclash kids.
I played it at the Troubador.
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 Ohio Players. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Glenn Branca 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Orchestral Manoeuvres in the Dark,
Ultimate Spinach,
Model 500,
Todd Rundgren,
Bobby Sherman,
Sly & The Family Stone,
The Jesus and Mary Chain,
Eric Dolphy,
Second Layer,
The United States of America,
The Men They Couldn't Hang,
Wire,
Ten City,
Scott Walker,
The Sonics,
Gary Puckett & The Union Gap,
Pantytec,
Robert Görl,
John Holt,
The Monks,
Laurel Aitken,
Bob Dylan,
Kauko Röyhkä ja Narttu,
Grauzone,
Rekid,
N.O.R.E. Featuring Pharrell,
Grandmaster Flash,
The Wake,
Frankie Knuckles,
Jacob Miller,
Rotary Connection,
Excepter,
Bobby Hutcherson,
Strawberry Alarm Clock,
Rhythm & Sound,
Terrestrial Tones,
Index,
Flipper,
MDC,
Moby Grape,
John Foxx,
Lalo Schifrin,
Rhythim Is Rhythim,
Sonic Youth,
Byron Stingily,
Brick,
Camberwell Now,
The Walker Brothers,
Quando Quango,
Chris Corsano,
Sight & Sound,
The West Coast Pop Art Experimental Band,
Tom Boy,
Los Fastidios,
Pete Rock & C.L. Smooth,
The Associates,
Isaac Hayes,
The Vogues,
Von Mondo,
Shuggie Otis,
Cluster,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.