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 Namibia and from Cairo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 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 Gang Starr to the punk kids.
I played it at the Astoria.
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 Godley & Creme. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Ohio Players,
Jacob Miller,
Severed Heads,
Ludus,
Bill Near,
U.S. Maple,
Tim Buckley,
Peter Gordon & Love of Life Orchestra,
Eli Mardock,
The Alarm Clocks,
Aaron Thompson,
Glambeats Corp.,
the Germs,
Neil Young,
Fort Wilson Riot,
Excepter,
The Mighty Diamonds,
The Leaves,
Newcleus,
The Human League,
Das Ding,
Archie Shepp,
Monks,
Derrick Morgan,
Mo-Dettes,
Tom Boy,
Matthew Halsall,
Livin' Joy,
Sam Rivers,
Jawbox,
This Heat,
FM Einheit,
Lou Reed,
Throbbing Gristle,
Alice Coltrane,
Au Pairs,
Main Source,
Zero Boys,
Stetsasonic,
Joe Smooth,
EPMD,
Jesper Dahlback,
The Cosmic Jokers,
Albert Ayler,
Kerri Chandler,
Brass Construction,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aural Exciters,
Ultra Naté,
Roger Hodgson,
The Last Poets,
Kool Moe Dee,
X-101,
Mad Mike,
Make Up,
Flamin' Groovies,
The Fire Engines,
Harpers Bizarre,
Desert Stars,
The Doobie Brothers,
World's Most, World's Most, World's Most, World's Most.
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.