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 Papua New Guinea and from Sao Paulo.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Beijing 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Kaleidoscope to the rap 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 Charles Mingus. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal disco 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 a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
The Invisible,
Bill Near,
LL Cool J,
Echo & the Bunnymen,
The Sisters of Mercy,
James White and The Blacks,
Duran Duran,
Thee Headcoats,
Anakelly,
Susan Cadogan,
Art Ensemble Of Chicago,
Pantaleimon,
Scrapy,
Public Image Ltd.,
Joyce Sims,
Barclay James Harvest,
Eurythmics,
the Germs,
Connie Case,
Todd Terry,
Sight & Sound,
Cal Tjader,
Bang On A Can,
The Remains,
The Modern Lovers,
JFA,
Gregory Isaacs,
48th St. Collective,
The Vogues,
Electric Prunes,
Arab on Radar,
Fela Kuti,
Grandmaster Flash,
The Moleskins,
Alphaville,
The Jesus and Mary Chain,
The Skatalites,
Procol Harum,
the Soft Cell,
Ituana,
Man Parrish,
Angels of Light & Akron/Family,
Josef K,
kango's stein massive,
Black Flag,
The Toasters,
Hashim,
Moby Grape,
Reuben Wilson,
Prince Buster,
Freddie Wadling,
The New Christs,
Soul Sonic Force,
Rhythm & Sound,
Joensuu 1685,
Bootsy's Rubber Band,
Con Funk Shun,
Monks,
London Community Gospel Choir,
The Move,
Joey Negro,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.