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 Norway and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Milan 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 güiro 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 T. Rex to the rap kids.
I played it at the Astoria.
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 Reuben Wilson. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every The Royal Family And The Poor 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Peter Gordon & Love of Life Orchestra,
Gil Scott-Heron & Brian Jackson,
Graham Central Station,
Todd Rundgren,
Joyce Sims,
Suburban Knight,
Boredoms,
Joensuu 1685,
Radiohead,
Cymande,
ABC,
In Retrospect,
Fad Gadget,
Banda Bassotti,
Spandau Ballet,
Fort Wilson Riot,
Davy DMX,
Be Bop Deluxe,
Fear,
Rhythim Is Rhythim,
The Vogues,
Slave,
Los Fastidios,
Kool Moe Dee,
Black Bananas,
Eve St. Jones,
the Human League,
Minnie Riperton,
Anthony Braxton,
The Fuzztones,
Pylon,
Arthur Verocai,
Pete Rock & C.L. Smooth,
Oneida,
Roger Hodgson,
Subhumans,
Amon Düül,
Idris Muhammad,
Drexciya,
The Red Krayola,
Terry Callier,
The Selecter,
Tomorrow,
Cluster,
Sugar Minott,
Yusef Lateef,
Soul II Soul,
The Barracudas,
Lee Hazlewood,
Popol Vuh,
Marvin Gaye,
Smog,
Brass Construction,
Swell Maps,
Marmalade,
Ossler,
Ash Ra Tempel,
David Axelrod,
Whodini,
Mark Hollis,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.