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 Sri Lanka and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 New York and Beijing.
I'm losing my edge to the art-school Mexico City 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 theremin 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 Jacob Miller to the grunge kids.
I played it at the Hacienda.
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 Amazonics. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Country Joe & The Fish 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 a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Notorious Big And Bone Thugs,
Derrick May,
Strawberry Alarm Clock,
Cybotron,
Gang Green,
Mandrill,
Be Bop Deluxe,
Saccharine Trust,
Alphaville,
Heaven 17,
Rod Modell,
the Bar-Kays,
Sun City Girls,
Soft Machine,
The Index,
Peter & Gordon,
Eyeless In Gaza,
Barclay James Harvest,
Gil Scott-Heron & Brian Jackson,
Soft Cell,
Average White Band,
The Toasters,
Deepchord,
Soulsonic Force,
Robert Görl,
Amon Düül II,
The Standells,
Country Teasers,
The Slits,
Yellowson,
Gil Scott Heron,
Shoche,
Lafayette Afro Rock Band,
Talk Talk,
The Star Department,
Archie Shepp,
Stereo Dub,
New Order,
Visionaries,LMNO, T- Love & Iriscience,
The Martian,
Spoonie Gee,
Quadrant,
FM Einheit,
Max Romeo,
Glambeats Corp.,
Pharaoh Sanders and the Fire Engines,
Eddi Front,
Suicide,
Camron Feat. Memphis Bleek And Beenie Seigel,
Selector Dub Narcotic,
The Count Five,
Das Ding,
New York Dolls,
Rotary Connection,
Trumans Water,
Terror Squad Feat. Camron,
Royal Trux,
Grey Daturas,
Vladislav Delay,
Delon & Dalcan,
Symarip, Symarip, Symarip, Symarip.
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.