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 Moldova and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Siglo XX to the grime 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 Max Romeo. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Pierre Henry,
Roxy Music,
Howard Jones,
Deutsch Amerikanische Freundschaft,
Tres Demented,
Slave,
Harry Pussy,
Sound Behaviour,
Röyhkä ja Rättö ja Lehtisalo,
The Cure,
Pylon,
Dark Day,
Lyres,
Niagra,
The Techniques,
Qualms,
Gil Scott-Heron & Brian Jackson,
Wighnomy Brothers & Robag Wruhme,
8 Eyed Spy,
Sexual Harrassment,
The Trojans,
Quadrant,
Rekid,
Man Eating Sloth,
Wings,
Nico,
Neil Young,
Lebanon Hanover,
Rotary Connection,
Jesper Dahlbäck,
Toni Rubio,
Mary Jane Girls,
Mandrill,
Red Lorry Yellow Lorry,
The Move,
Kenny Larkin,
Sixth Finger,
Chrome,
The Star Department,
Marine Girls,
Be Bop Deluxe,
Interpol,
Quantec,
Barrington Levy,
Magma,
Pantytec,
Avey Tare's Slasher Flicks,
Danielle Patucci,
Ten City,
Roy Ayers Ubiquity,
Scientists,
The Residents,
Stockholm Monsters,
The Offenders,
Gang of Four,
Echo & the Bunnymen,
Lou Christie,
Mark Hollis,
Tropical Tobacco,
Kango’s Stein Massive,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.