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 Denmark and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1978.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Beijing 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 organ 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 Monks to the crunk kids.
I played it at the Roxy.
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 Eric Dolphy. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Aloha Tigers,
Technova,
Stockholm Monsters,
Gil Scott-Heron and Jamie xx,
Amon Düül,
Slick Rick,
The Alarm Clocks,
Moby Grape,
The Velvet Underground,
June Days,
Notorious Big And Bone Thugs,
Prince Buster,
Yaz,
Nick Fraelich,
Desert Stars,
Letta Mbulu,
Tom Boy,
Faraquet,
Fluxion,
Animal Collective,
The Wake,
Clear Light,
Matthew Halsall,
Girls At Our Best!,
Man Eating Sloth,
Tim Buckley,
Ornette Coleman,
The Dirtbombs,
Rhythim Is Rhythim,
Johnny Osbourne,
The Victims,
The Motions,
Pete Rock & C.L. Smooth,
Pole,
Rapeman,
Lou Reed,
Fort Wilson Riot,
Lower 48,
Josef K,
Bob Dylan,
Thinking Fellers Union Local 282,
Motorama,
The Gories,
Judy Mowatt,
Sound Behaviour,
Rufus Thomas,
The Standells,
Sexual Harrassment,
The Happenings,
Minnie Riperton,
The Mummies,
The Angels of Light,
Peter and Kerry,
Kerri Chandler,
The Divine Comedy,
Alison Limerick,
Roy Ayers,
Flipper,
Black Bananas,
The Young Rascals,
Johnny Clarke,
Massinfluence,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.