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 Solomon Islands and from Seoul.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Paris 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 808 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 Intrusion to the rock kids.
I played it at Cafe Wha.
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 Gang Starr. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Audionom,
The Electric Prunes,
The Raincoats,
Bobbi Humphrey,
The Happenings,
Cabaret Voltaire,
Essential Logic,
The Chocolate Watch Band,
Jandek,
Maleditus Sound,
48th St. Collective,
Gerry Rafferty,
Amon Düül II,
Panda Bear,
James White and The Blacks,
Soft Cell,
Sarah Menescal,
Orchestral Manoeuvres in the Dark,
Graham Central Station,
Babytalk,
Oppenheimer Analysis,
The Sisters of Mercy,
Dorothy Ashby,
Crispy Ambulance,
Sällskapet,
Y Pants,
Mr. Review,
Deadbeat,
Warsaw,
Neil Young & Crazy Horse,
Joensuu 1685,
Zero Boys,
Joyce Sims,
Fort Wilson Riot,
Thee Headcoats,
Tubeway Army,
Chrome,
Johnny Clarke,
Magma,
Wire,
Chris & Cosey,
Dark Day,
Stockholm Monsters,
The Grass Roots,
The Searchers,
CMW,
Robert Görl,
Livin' Joy,
Urselle,
Scan 7,
Ice-T,
Gastr Del Sol,
Roger Hodgson,
ABBA,
Althea and Donna,
Patti Smith,
Sandy B,
Scientists,
The Knickerbockers,
Fluxion,
Surgeon,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.