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 Austria and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Manila and Johannesburg.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Kurtis Blow to the rap kids.
I played it at Trash.
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 Lucky Dragons. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Slave,
Bobby Hutcherson,
Whodini,
Ohio Players,
Pharoah Sanders,
Porter Ricks,
Arab on Radar,
Loose Ends,
The Motions,
This Heat,
Hoover,
Sun Ra Arkestra,
the Association,
The Cowsills,
the Germs,
Curtis Mayfield,
Girls At Our Best!,
Alice Coltrane,
Lyres,
Stockholm Monsters,
Orchestral Manoeuvres in the Dark,
The Shadows of Knight,
Pantaleimon,
L. Decosne,
The Happenings,
Half Japanese,
A Certain Ratio,
Minor Threat,
June Days,
Lou Reed & Metallica,
Television,
Thee Headcoats,
OOIOO,
New Order,
Terrestrial Tones,
Cecil Taylor,
Motorama,
Rekid,
Jacob Miller,
Sun Ra,
Aaron Thompson,
Fugazi,
Gang Green,
Bluetip,
Henry Cow,
Quantec,
Howard Jones,
Lonnie Liston Smith,
The Invisible,
Blake Baxter,
Intrusion,
Radiohead,
Vainqueur,
Chrome,
The Monochrome Set,
Kool Moe Dee,
Nas,
Boogie Down Productions,
Ash Ra Tempel,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.