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 Honduras and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 organ sounds with much patience.
I was there when Holger Czukay 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 Nils Olav to the funk kids.
I played it at Cafe Wha.
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 Notorious Big And Bone Thugs. All the underground hits.
All Mad Mike 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
James Chance & The Contortions,
Deepchord,
Glenn Branca,
Marc Romboy vs. Booka Shade,
The Doobie Brothers,
Boredoms,
Oblivians,
Aaron Thompson,
The Detroit Cobras,
Moby Grape,
The Chocolate Watch Band,
Loose Ends,
The Cramps,
Bang on a Can All-Stars,
Godley & Creme,
Eli Mardock,
Pere Ubu,
Grandmaster Flash,
Fela Kuti,
Rhythm & Sound,
John Cale,
The Trojans,
Pierre Henry,
Super Lover Cee & Casanova Rud,
Rosa Yemen,
Pagans,
Das Ding,
Moss Icon,
Roxy Music,
the Swans,
The Velvet Underground,
Scratch Acid,
The Cure,
Brand Nubian,
Lou Reed & John Cale,
Darondo,
Joey Negro,
Funkadelic,
Sixth Finger,
Radiohead,
Warsaw,
Vaughan Mason & Crew,
The Motions,
Banda Bassotti,
Unrelated Segments,
Interpol,
the Normal,
Curtis Mayfield,
Ten City,
Gregory Isaacs,
Index,
a-ha,
Prince Buster,
The Mighty Diamonds,
Cymande,
Nirvana,
Orchestral Manoeuvres in the Dark,
Quadrant,
K-Klass, K-Klass, K-Klass, K-Klass.
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.