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 Niger and from Copenhagen.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Toronto 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 marimba 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 Danielle Patucci to the funk 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 Darondo. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Sex Pistols,
Sister Nancy,
Deadbeat,
Minny Pops,
B.T. Express,
Sun City Girls,
Richard Hell and the Voidoids,
Darondo,
Absolute Body Control,
X-102,
Siglo XX,
Icehouse,
Masters at Work,
The Black Dice,
Dead Boys,
Kool G Rap & DJ Polo,
Ultravox,
Robert Hood,
Hoover,
Lafayette Afro Rock Band,
The Gun Club,
Rakim,
John Cale,
Porter Ricks,
PIL,
Blancmange,
Eric Copeland,
The Doobie Brothers,
Swell Maps,
The Doors,
Basic Channel,
The Jesus and Mary Chain,
Lalann,
48th St. Collective,
Kool Moe Dee,
Derrick May,
The Index,
Surgeon,
Slave,
Maurizio,
Leonard Cohen,
Groovy Waters,
Ronnie Foster,
Byron Stingily,
Althea and Donna,
De La Soul & Jungle Brothers,
E-Dancer,
Reuben Wilson,
Be Bop Deluxe,
Roy Ayers Ubiquity,
Depeche Mode,
Flamin' Groovies,
Rosa Yemen,
Teenage Jesus and the Jerks,
Liaisons Dangereuses,
Altered Images,
Ash Ra Tempel,
The Detroit Cobras,
Echo & the Bunnymen,
Lyres,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.