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 El Salvador and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1970.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school Bologna 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 marimba 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 Half Japanese to the disco kids.
I played it at the Crocodile.
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 Avey Tare. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Q65,
Masters at Work,
Angels of Light & Akron/Family,
Chrome,
Theoretical Girls,
The American Breed,
DeepChord presents Echospace,
Neil Young & Crazy Horse,
The Zeros,
Arthur Verocai,
Royal Trux,
Barry Ungar,
Frankie Knuckles,
The Music Machine,
The Smiths,
Derrick Morgan,
Blossom Toes,
Blake Baxter,
Clear Light,
Aswad,
Be Bop Deluxe,
Gong,
Ludus,
It's A Beautiful Day,
The Knickerbockers,
Roxette,
The Human League,
Unrelated Segments,
Young Marble Giants,
Pagans,
Bizarre Inc.,
Harry Pussy,
Lou Christie,
Essential Logic,
Andrew Ashong & Theo Parrish,
The Motions,
Michelle Simonal,
The Durutti Column,
Scrapy,
kango's stein massive,
The Invisible,
Stiv Bators,
Al Stewart,
X-101,
Piero Umiliani,
Vainqueur,
David Axelrod,
Sällskapet,
The Offenders,
Kings Of Tomorrow,
Trumans Water,
Delta 5,
The Vogues,
Jesper Dahlback,
The Moleskins,
Soul Sonic Force,
Tom Boy,
Kas Product,
The Mighty Diamonds,
The Neon Judgement,
Second Layer,
Avey Tare,
Sparks,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.