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 Samoa and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Milan and Seoul.
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 harpsichord 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 Monolake to the techno 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 the Fania All-Stars. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every AZ 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
David McCallum,
Peter and Kerry,
Stereo Dub,
The Standells,
Severed Heads,
Hoover,
Smog,
Arcadia,
Robert Görl,
Whodini,
Yaz,
Brass Construction,
The Index,
the Germs,
Man Eating Sloth,
Quantec,
Joy Division,
AZ,
Gang Starr,
Howard Jones,
Guru Guru,
Freddie Wadling,
The Moleskins,
The Raincoats,
A Flock of Seagulls,
Chris & Cosey,
Jesper Dahlback,
The Fire Engines,
The Flesh Eaters,
Kauko Röyhkä ja Narttu,
Lizzy Mercier Descloux,
Matthew Bourne,
Clear Light,
the Normal,
Half Japanese,
kango's stein massive,
The Detroit Cobras,
Saccharine Trust,
Magazine,
Scan 7,
Pierre Henry,
Anthony Braxton,
The Stooges,
The Cowsills,
The Selecter,
Jandek,
Derrick Morgan,
Andrew Ashong & Theo Parrish,
Juan Atkins,
Sad Lovers and Giants,
Loose Ends,
The Gories,
Brand Nubian,
Fad Gadget,
Sonic Youth,
Camouflage,
Animal Collective,
Sister Nancy,
Joyce Sims,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.