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 Turkmenistan and from Manchester.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Delhi and Toronto.
I'm losing my edge to the art-school Columbus 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer 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 Main Source to the rap kids.
I played it at the Astoria.
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 Rakim. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Pere Ubu 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 '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Connie Case,
Gong,
R.M.O.,
Sly & The Family Stone,
Danielle Patucci,
Albert Ayler,
Minnie Riperton,
Scratch Acid,
Kevin Saunderson,
Bauhaus,
Major Organ And The Adding Machine,
Little Man,
Bobby Byrd,
Sparks,
Art Ensemble Of Chicago,
Chris Corsano,
The Gun Club,
June of 44,
Yellowson,
Bush Tetras,
Joey Negro,
Eric B and Rakim,
Banda Bassotti,
Nation of Ulysses,
Skaos,
Au Pairs,
Rhythm & Sound,
Youth Brigade,
Dawn Penn,
The Doobie Brothers,
The Remains,
The Modern Lovers,
T.S.O.L.,
Arab on Radar,
Duran Duran,
Joe Smooth,
Flipper,
Mr. Review,
Lightning Bolt,
Manfred Mann's Earth Band,
Popol Vuh,
Brass Construction,
Roger Hodgson,
Charles Mingus,
The Detroit Cobras,
The Gories,
Harpers Bizarre,
Tubeway Army,
Stereo Dub,
a-ha,
Marvin Gaye,
Boredoms,
Trumans Water,
Siglo XX,
Wire,
Ajijia Myrayebe,
Boz Scaggs,
Heavy D & The Boyz,
The Human League,
Mandrill,
The Smiths, The Smiths, The Smiths, The Smiths.
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.