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 Qatar and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1963 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Shanghai.
I'm losing my edge to the art-school Columbus 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 The Vogues to the jazz kids.
I played it at the 40 Watt.
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 Livin' Joy. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
The Neon Judgement,
Kango’s Stein Massive,
Cecil Taylor,
The Golliwogs,
Banda Bassotti,
Parry Music,
Stiv Bators,
Minnie Riperton,
Aloha Tigers,
Mark Hollis,
Spandau Ballet,
X-102,
Rufus Thomas,
The Real Kids,
Cymande,
Major Organ And The Adding Machine,
Groovy Waters,
Nas,
The Shadows of Knight,
Deadbeat,
the Germs,
Ajijia Myrayebe,
New Order,
The Last Poets,
Boogie Down Productions,
Mary Jane Girls,
Magma,
Saccharine Trust,
Orchestral Manoeuvres in the Dark,
The Fugs,
Girls At Our Best!,
the Fania All-Stars,
Gil Scott-Heron and Jamie xx,
Bluetip,
Bob Dylan,
Nils Olav,
Index,
Pussy Galore,
The Dirtbombs,
The Zeros,
Scratch Acid,
Qualms,
Brothers Johnson,
La Düsseldorf,
The Alarm Clocks,
Jesper Dahlbäck,
Depeche Mode,
Section 25,
Davy DMX,
Traffic Nightmare,
Ralphi Rosario,
Fela Kuti,
The American Breed,
Marvin Gaye,
Max Romeo,
Sonny Sharrock,
Quantec,
Bobbi Humphrey,
Soft Machine,
Gregory Isaacs,
Buzzcocks,
The Seeds,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.