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 Uganda and from Tehran.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 Jesper Dahlback to the disco kids.
I played it at CBGB's.
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 The Kinks. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Skarface,
Anthony Braxton,
Tres Demented,
Gil Scott-Heron & Brian Jackson,
Spandau Ballet,
Charles Mingus,
Absolute Body Control,
Livin' Joy,
Nas,
Parry Music,
Kas Product,
The New Christs,
Ultramagnetic MC's,
The Seeds,
Hot Snakes,
Notorious Big And Bone Thugs,
The Real Kids,
Essential Logic,
the Germs,
Half Japanese,
Sandy B,
Stockholm Monsters,
Unrelated Segments,
The Last Poets,
Tommy Roe,
Eden Ahbez,
Stereo Dub,
Echo & the Bunnymen,
Blake Baxter,
These Immortal Souls,
Alison Limerick,
kango's stein massive,
Man Eating Sloth,
Ajijia Myrayebe,
Henry Cow,
James White and The Blacks,
Ultra Naté,
Sun City Girls,
Amon Düül II,
Angels of Light & Akron/Family,
Glambeats Corp.,
Kango’s Stein Massive,
H. Thieme,
Black Pus,
Negative Approach,
The Victims,
The Flesh Eaters,
Hardrive,
Jawbox,
X-101,
Carl Craig,
Pulsallama,
Yaz,
Radiohead,
Flash Fearless,
Little Man,
Country Teasers,
The Sonics,
The Index,
John Foxx,
The Chocolate Watch Band,
Monks, Monks, Monks, Monks.
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.