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 Kuwait and from Accra.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Bremen 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Davy DMX to the grunge 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 Au Pairs. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Basic Channel,
Funkadelic,
Symarip,
Deutsch Amerikanische Freundschaft,
Negative Approach,
Electric Prunes,
Simply Red,
Faraquet,
Blake Baxter,
Television,
Yellowson,
Thee Headcoats,
B.T. Express,
Delon & Dalcan,
Brass Construction,
Gang Gang Dance,
Rites of Spring,
Heavy D & The Boyz,
David Bowie,
Chris Corsano,
Notorious Big And Bone Thugs,
Neil Young,
Stockholm Monsters,
Godley & Creme,
Skriet,
The West Coast Pop Art Experimental Band,
Severed Heads,
Malaria!,
Sällskapet,
Rekid,
Marc Almond,
Byron Stingily,
The Peanut Butter Conspiracy,
Rosa Yemen,
Bush Tetras,
Dave Gahan,
The Kinks,
Oppenheimer Analysis,
Rhythm & Sound,
Quando Quango,
Sexual Harrassment,
Franke,
Sonic Youth,
Deadbeat,
Alphaville,
Lee Hazlewood,
The Monochrome Set,
Boogie Down Productions,
Saccharine Trust,
Fela Kuti,
Ultra Naté,
U.S. Maple,
Siglo XX,
DJ Sneak,
The Selecter,
The Skatalites,
Marcia Griffiths,
June of 44,
Grauzone, Grauzone, Grauzone, Grauzone.
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.