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 Micronesia and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Portland 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 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 Terry Callier to the dance kids.
I played it at the Crocodile.
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 Can. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Angels of Light & Akron/Family record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Bush Tetras,
Mandrill,
The Fuzztones,
Rhythm & Sound,
The United States of America,
Black Sheep,
The Men They Couldn't Hang,
Soft Machine,
ABC,
The Red Krayola,
Stiv Bators,
The Sonics,
Andrew Ashong & Theo Parrish,
Saccharine Trust,
Urselle,
Gang Starr,
The Raincoats,
Little Man,
Magazine,
Scan 7,
Severed Heads,
Peter Gordon & Love of Life Orchestra,
Derrick Morgan,
The Fire Engines,
Joey Negro,
Wire,
Circle Jerks,
Aaron Thompson,
Simply Red,
Erasure,
Rod Modell,
Underground Resistance,
Orchestral Manoeuvres in the Dark,
Captain Beefheart & His Magic Band,
Whodini,
the Human League,
Wasted Youth,
The Shadows of Knight,
The Toasters,
Altered Images,
Stetsasonic,
Hardrive,
Marine Girls,
The Blackbyrds,
Stockholm Monsters,
The Victims,
N.O.R.E. Featuring Pharrell,
Oppenheimer Analysis,
DeepChord presents Echospace,
Qualms,
Roy Ayers Ubiquity,
Chris & Cosey,
Scott Walker,
Panda Bear,
Grey Daturas,
Oblivians,
Arcadia,
Avey Tare's Slasher Flicks,
Roy Ayers,
Byron Stingily,
The Stooges,
Country Joe & The Fish,
Ultravox, Ultravox, Ultravox, Ultravox.
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.