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 Singapore and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Jakarta.
I'm losing my edge to the art-school Calgary 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Bootsy's Rubber Band to the punk 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 the Soft Cell. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Harmonia,
New Age Steppers,
Fifty Foot Hose,
Crispian St. Peters,
Lee Hazlewood,
The Pop Group,
Gil Scott-Heron and Jamie xx,
Notorious Big And Bone Thugs,
Mission of Burma,
Byron Stingily,
Toni Rubio,
Wire,
Absolute Body Control,
The Names,
Amon Düül II,
Kauko Röyhkä ja Narttu,
It's A Beautiful Day,
Gerry Rafferty,
Pantytec,
Sun Ra Arkestra,
Niagra,
Tommy Roe,
Japan,
Los Fastidios,
Curtis Mayfield,
World's Most,
Buzzcocks,
The Cure,
Larry & the Blue Notes,
The Fuzztones,
Tropical Tobacco,
the Normal,
Nils Olav,
Andrew Ashong & Theo Parrish,
Derrick May,
Chris Corsano,
Sight & Sound,
Aural Exciters,
Eric B and Rakim,
Connie Case,
Crime,
Gichy Dan,
Babytalk,
Sunsets and Hearts,
Oblivians,
Judy Mowatt,
Mr. Review,
Deakin,
Oppenheimer Analysis,
Rekid,
Gregory Isaacs,
The J.B.'s,
Goldenarms,
Kevin Saunderson,
Dennis Brown,
Funkadelic,
Stockholm Monsters,
Bill Wells,
Gong,
Motorama,
Jeff Mills,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.