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 Malaysia and from Copenhagen.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Manila and Mumbai.
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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Piero Umiliani to the grunge 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 Louis and Bebe Barron. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every The Offenders 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
The Martian,
Moebius,
The Cramps,
The Misunderstood,
Soft Machine,
Pete Rock & C.L. Smooth,
Section 25,
Unwound,
cv313,
Yaz,
Eden Ahbez,
Sad Lovers and Giants,
Colin Newman,
Tres Demented,
Theoretical Girls,
Monks,
Bad Manners,
Hardrive,
DJ Sneak,
Nirvana,
Derrick Morgan,
Angels of Light & Akron/Family,
John Coltrane,
Lalo Schifrin,
Art Ensemble Of Chicago,
Vaughan Mason & Crew,
Rosa Yemen,
Mad Mike,
Electric Prunes,
Goldenarms,
Oppenheimer Analysis,
The Sound,
Sun Ra,
the Sonics,
The Stooges,
Kool G Rap & DJ Polo,
Grandmaster Flash,
The Fortunes,
Public Image Ltd.,
James Chance & The Contortions,
Maleditus Sound,
Eyeless In Gaza,
Skarface,
Nick Fraelich,
Guru Guru,
Pere Ubu,
Lindisfarne,
Roxette,
The Mummies,
48th St. Collective,
Hasil Adkins,
Oneida,
Red Lorry Yellow Lorry,
The Jesus and Mary Chain,
Brick,
Duran Duran,
Tom Boy,
Bauhaus,
The Monks, The Monks, The Monks, The Monks.
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.