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 Kosovo and from Tehran.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bremen and Spokane.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Soulsonic Force to the rock 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 Funkadelic. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Lightning Bolt record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Groovy Waters,
JFA,
Rod Modell,
Joy Division,
The Stooges,
Clear Light,
Bizarre Inc.,
It's A Beautiful Day,
The Mojo Men,
Marc Almond,
Frankie Knuckles,
Beasts of Bourbon,
The Velvet Underground,
Kayak,
Mark Hollis,
Kool G Rap & DJ Polo,
Jeru the Damaja,
The Move,
Vainqueur,
Mo-Dettes,
Shuggie Otis,
Sunsets and Hearts,
Lower 48,
The Buckinghams,
The Birthday Party,
Silicon Teens,
X-102,
The Doors,
Sly & The Family Stone,
Black Flag,
The Walker Brothers,
Stereo Dub,
Motorama,
Oblivians,
Arthur Verocai,
the Fania All-Stars,
Jeff Mills,
Art Ensemble Of Chicago,
Gang Green,
Gang Starr,
Tropical Tobacco,
Gil Scott Heron,
Agitation Free,
Crispian St. Peters,
Erasure,
The Black Dice,
Marc Romboy vs. Booka Shade,
Bootsy Collins,
The Toasters,
the Association,
Royal Trux,
Second Layer,
Kerri Chandler,
Pharaoh Sanders and the Fire Engines,
Little Man,
Roger Hodgson,
The Star Department,
Magazine,
Index, Index, Index, Index.
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.