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 Guinea 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 1961 to 1976.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Dead Boys to the grunge kids.
I played it at the 40 Watt.
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 Jeff Mills. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Moebius 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 '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
James Chance & The Contortions,
Avey Tare & Kría Brekkan,
Brand Nubian,
UT,
Jeff Mills,
Boredoms,
Vainqueur,
Malaria!,
The Mighty Diamonds,
Mary Jane Girls,
Robert Wyatt,
Donald Byrd,
Groovy Waters,
Nico,
Stetsasonic,
Siglo XX,
Rotary Connection,
The Martian,
The Electric Prunes,
Henry Cow,
Bobby Womack,
Joensuu 1685,
The Names,
Loose Ends,
Junior Murvin,
Gabor Szabo,
Das Ding,
Angry Samoans,
Lee Hazlewood,
Scratch Acid,
Jimmy McGriff,
DNA,
Angels of Light & Akron/Family,
Sly & The Family Stone,
Con Funk Shun,
The Techniques,
Trumans Water,
Gang Green,
FM Einheit,
Delta 5,
Rowland S Howard / Lydia Lunch,
The Standells,
The Fire Engines,
Skarface,
Shoche,
Hoover,
Lou Reed & Metallica,
Sound Behaviour,
De La Soul & Jungle Brothers,
Easy Going,
The Searchers,
Susan Cadogan,
Rahsaan Roland Kirk,
Underground Resistance,
Brick,
CMW,
The United States of America,
The Mojo Men,
Suburban Knight,
June Days,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.