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 Czech Republic and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Cairo 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Crooked Eye to the disco 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 Faraquet. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Aaron Thompson 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Al Stewart,
Ossler,
Morten Harket,
Colin Newman,
Lalann,
Drexciya,
Banda Bassotti,
Eric Copeland,
CMW,
Swans,
Mary Jane Girls,
Deutsch Amerikanische Freundschaft,
Albert Ayler,
Ten City,
Rahsaan Roland Kirk,
The Mummies,
Tubeway Army,
A Certain Ratio,
The Skatalites,
Glambeats Corp.,
Warsaw,
Alice Coltrane,
Hashim,
Neil Young,
The Barracudas,
Art Ensemble Of Chicago,
Nils Olav,
Arthur Verocai,
Moby Grape,
The Remains,
Sun Ra Arkestra,
Livin' Joy,
Joyce Sims,
Agitation Free,
Captain Beefheart & His Magic Band,
Gichy Dan,
Cheater Slicks,
Johnny Clarke,
New York Dolls,
Kings Of Tomorrow,
a-ha,
The Red Krayola,
June Days,
R.M.O.,
Andrew Hill,
The Cowsills,
Boredoms,
Joe Smooth,
Adolescents,
Popol Vuh,
Bobby Hutcherson,
Spandau Ballet,
Grandmaster Flash,
Rakim,
Flipper,
Infiniti,
Minnie Riperton,
Pere Ubu,
The Pretty Things,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.