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 Ethiopia 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 1963 to 1971.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Calgary 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Music Machine to the funk kids.
I played it at the Astoria.
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 Nation of Ulysses. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal dance 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Sällskapet,
Aswad,
Röyhkä ja Rättö ja Lehtisalo,
Sad Lovers and Giants,
The Neon Judgement,
Matthew Halsall,
Joe Finger,
The Searchers,
Larry & the Blue Notes,
The Dead C,
Country Teasers,
Stetsasonic,
Audionom,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ronan,
Albert Ayler,
The Sound,
The Divine Comedy,
Drive Like Jehu,
Anakelly,
Crash Course in Science,
Curtis Mayfield,
Avey Tare's Slasher Flicks,
The Techniques,
Urselle,
L. Decosne,
James Chance & The Contortions,
The Monochrome Set,
Pussy Galore,
Gabor Szabo,
Minutemen,
Little Man,
Scion,
Eric Dolphy,
Minor Threat,
Sun Ra Arkestra,
Guru Guru,
The Walker Brothers,
Barbara Tucker,
Man Eating Sloth,
Susan Cadogan,
Brand Nubian,
Big Daddy Kane,
Bobbi Humphrey,
Gichy Dan,
Crime,
The Mighty Diamonds,
a-ha,
Dorothy Ashby,
Eddi Front,
Terry Callier,
This Heat,
The West Coast Pop Art Experimental Band,
Theoretical Girls,
Todd Terry,
Shoche,
AZ,
Boogie Down Productions,
The Move,
Mo-Dettes,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.