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 Colombia and from Manila.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lagos and Toronto.
I'm losing my edge to the art-school Seoul 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 Michael McDonald 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 Hardrive to the jazz 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 Freddie Wadling. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Au Pairs,
The West Coast Pop Art Experimental Band,
Marshall Jefferson,
Gil Scott-Heron & Brian Jackson,
Outsiders,
The Electric Prunes,
Minnie Riperton,
Beasts of Bourbon,
The Red Krayola,
The Knickerbockers,
E-Dancer,
Adolescents,
Siglo XX,
Alton Ellis,
Brick,
Laurel Aitken,
Ornette Coleman,
Brothers Johnson,
Alice Coltrane,
Minutemen,
The Raincoats,
X-101,
The Kinks,
Electric Light Orchestra,
Scott Walker,
L. Decosne,
Liaisons Dangereuses,
Robert Hood,
Sarah Menescal,
Strawberry Alarm Clock,
The Fugs,
Eddi Front,
Porter Ricks,
Magazine,
Harmonia,
The Trojans,
Agitation Free,
Traffic Nightmare,
Manfred Mann's Earth Band,
The Slackers,
Rapeman,
Radio Birdman,
Masters at Work,
Technova,
the Germs,
Patti Smith,
Public Image Ltd.,
Harpers Bizarre,
Stockholm Monsters,
Ken Boothe,
The Fire Engines,
Depeche Mode,
Eli Mardock,
Bobby Byrd,
The Last Poets,
Delon & Dalcan,
The Young Rascals,
Average White Band,
The Sound,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.