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 Oman and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Tehran and Jakarta.
I'm losing my edge to the art-school Mumbai 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 harpsichord 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 Chocolate Watch Band to the funk kids.
I played it at the Crocodile.
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 Godley & Creme. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
Lalo Schifrin,
The Gap Band,
The Standells,
Selector Dub Narcotic,
The Gories,
Can,
Dave Gahan,
Sugar Minott,
Maurizio,
Major Organ And The Adding Machine,
The Pop Group,
Con Funk Shun,
Section 25,
Banda Bassotti,
Yazoo,
Crispian St. Peters,
Sarah Menescal,
The New Christs,
Rod Modell,
Liliput,
Roy Ayers Ubiquity,
Clear Light,
New York Dolls,
Index,
U.S. Maple,
Erasure,
David Axelrod,
Public Enemy,
Bang on a Can All-Stars,
Cluster,
Man Parrish,
Minny Pops,
Lou Reed,
Half Japanese,
A Certain Ratio,
Rhythim Is Rhythim,
Freddie Wadling,
Lonnie Liston Smith,
Lower 48,
Funkadelic,
Henry Cow,
Nirvana,
FM Einheit,
Yusef Lateef,
Cybotron,
This Heat,
Wire,
Sound Behaviour,
Minor Threat,
Eric Dolphy,
John Lydon,
Pere Ubu,
Gil Scott-Heron and Jamie xx,
Don Cherry,
Rhythm & Sound,
Johnny Clarke,
Roxy Music,
Dorothy Ashby,
Red Lorry Yellow Lorry,
Fat Boys,
Art Ensemble Of Chicago,
The Count Five,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.