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 Yemen and from Mexico City.
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 Columbus and Columbus.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Pantaleimon to the rap kids.
I played it at the 40 Watt.
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 Joensuu 1685. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Anthony Braxton 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 '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Icehouse,
Oblivians,
Oppenheimer Analysis,
Blossom Toes,
Eric Copeland,
10cc,
Ultravox,
Lightning Bolt,
Junior Murvin,
Grandmaster Flash and the Furious Five,
Marcia Griffiths,
Masters at Work,
L. Decosne,
Sexual Harrassment,
Michelle Simonal,
Byron Stingily,
Kerri Chandler,
Jeff Mills,
Barbara Tucker,
Teenage Jesus and the Jerks,
Bush Tetras,
Camberwell Now,
Au Pairs,
Gichy Dan,
The United States of America,
Average White Band,
Duran Duran,
Ultimate Spinach,
The Human League,
Erasure,
Isaac Hayes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The New Christs,
Mad Mike,
Malaria!,
Newcleus,
KRS-One,
K-Klass,
Cymande,
Bobby Womack,
Television Personalities,
Pole,
The Associates,
The Doors,
Quando Quango,
New Age Steppers,
Al Stewart,
Von Mondo,
Lungfish,
Ultra Naté,
Jacob Miller,
F. McDonald,
Y Pants,
The Alarm Clocks,
Ajijia Myrayebe,
Larry & the Blue Notes,
Neu!,
Fluxion,
Crime,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.