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 Bhutan and from Copenhagen.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Delhi 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 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 Strawberry Alarm Clock to the techno 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 Count Five. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
The J.B.'s,
Sly & The Family Stone,
Andrew Hill,
Electric Prunes,
These Immortal Souls,
Girls At Our Best!,
Tomorrow,
Lakeside,
Lee Hazlewood,
Colin Newman,
Motorama,
Lou Reed & Metallica,
Faust,
Aural Exciters,
Mad Mike,
Crispy Ambulance,
Sixth Finger,
Major Organ And The Adding Machine,
Justin Hinds & The Dominoes,
Can,
Angels of Light & Akron/Family,
Camberwell Now,
Mandrill,
Grandmaster Flash,
Black Sheep,
Rahsaan Roland Kirk,
Nirvana,
In Retrospect,
The Grass Roots,
Siouxsie and the Banshees,
The Pretty Things,
The Durutti Column,
Fear,
Severed Heads,
The Cowsills,
Lou Reed,
cv313,
AZ,
Lalo Schifrin,
Ossler,
Bang On A Can,
John Coltrane,
Chris & Cosey,
The Smoke,
Television,
Grandmaster Flash and the Furious Five,
Siglo XX,
Notorious Big And Bone Thugs,
Yazoo,
Barrington Levy,
James Chance & The Contortions,
Parry Music,
Teenage Jesus and the Jerks,
The Human League,
The Index,
the Slits,
Yusef Lateef,
Gil Scott-Heron & Brian Jackson,
Slick Rick,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.