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 Uzbekistan and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Madrid 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 oboe 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 Lou Reed to the crunk kids.
I played it at the Spitz.
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 E-Dancer. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
The Count Five,
Ultramagnetic MC's,
Pantaleimon,
World's Most,
Bob Dylan,
Tim Buckley,
The Victims,
Television,
Sly & The Family Stone,
The Slits,
X-102,
Lizzy Mercier Descloux,
The Modern Lovers,
Man Parrish,
Kool G Rap & DJ Polo,
Pere Ubu,
Absolute Body Control,
Cheater Slicks,
Tommy Roe,
The Five Americans,
Jesper Dahlback,
Lower 48,
The Red Krayola,
The Wake,
Sixth Finger,
Todd Terry,
Sun Ra Arkestra,
Echospace,
Shoche,
Scratch Acid,
Ultra Naté,
Supertramp,
Swell Maps,
Eve St. Jones,
Nick Fraelich,
a-ha,
Los Fastidios,
Radio Birdman,
Can,
Amon Düül,
kango's stein massive,
Deakin,
The Detroit Cobras,
Manfred Mann's Earth Band,
Crash Course in Science,
Janne Schatter,
The Buckinghams,
Silicon Teens,
Eyeless In Gaza,
Sunsets and Hearts,
FM Einheit,
N.O.R.E. Featuring Pharrell,
John Coltrane,
Heavy D & The Boyz,
Spoonie Gee,
The Smiths,
Gang Gang Dance,
Erasure,
Hasil Adkins,
China Crisis,
Whodini, Whodini, Whodini, Whodini.
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.