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 Uruguay and from Accra.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Cybotron to the techno kids.
I played it at the Troubador.
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 Slave. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Minnie Riperton 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Motorama,
Sarah Menescal,
Boredoms,
Country Joe & The Fish,
Von Mondo,
Saccharine Trust,
Andrew Ashong & Theo Parrish,
FM Einheit,
Rufus Thomas,
Deepchord,
World's Most,
Bad Manners,
Avey Tare's Slasher Flicks,
Monolake,
New Order,
The Last Poets,
The Evens,
Lucky Dragons,
Kango’s Stein Massive,
Nils Olav,
Camberwell Now,
Steve Hackett,
Robert Wyatt,
Joey Negro,
Thompson Twins,
Anthony Braxton,
X-102,
The Grass Roots,
Lizzy Mercier Descloux,
R.M.O.,
Depeche Mode,
Dorothy Ashby,
the Germs,
The Index,
The Divine Comedy,
Deakin,
Schoolly D,
Glambeats Corp.,
Audionom,
London Community Gospel Choir,
Metal Thangz,
Das Ding,
Technova,
Nico,
Scott Walker + Sunn O))),
The Gories,
Ronnie Foster,
Skaos,
The Flesh Eaters,
Byron Stingily,
The Human League,
Flipper,
Donald Byrd,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Boz Scaggs,
Urselle,
Bang On A Can,
The Offenders, The Offenders, The Offenders, The Offenders.
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.