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 Algeria and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Calgary and Jakarta.
I'm losing my edge to the art-school Shanghai 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 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 Connie Case to the grime kids.
I played it at the Troubador.
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 Grass Roots. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Nick Fraelich,
CMW,
Half Japanese,
June Days,
The Names,
The Selecter,
Cymande,
Stereo Dub,
E-Dancer,
Main Source,
Schoolly D,
The Gun Club,
The New Christs,
Suburban Knight,
Blossom Toes,
X-Ray Spex,
Ken Boothe,
Pagans,
Scan 7,
Harpers Bizarre,
Warren Ellis,
Marcia Griffiths,
The Pretty Things,
Pussy Galore,
The Saints,
Kool Moe Dee,
Kings Of Tomorrow,
Infiniti,
Vaughan Mason & Crew,
Bill Wells,
Alice Coltrane,
In Retrospect,
Rhythm & Sound,
Hoover,
The Real Kids,
Deutsch Amerikanische Freundschaft,
The Skatalites,
Nico,
Bronski Beat,
The Blackbyrds,
Terry Callier,
Black Bananas,
Reagan Youth,
Dawn Penn,
The Searchers,
Soulsonic Force,
Bang on a Can All-Stars,
Saccharine Trust,
The Young Rascals,
Sugar Minott,
Gastr Del Sol,
The Divine Comedy,
Girls At Our Best!,
A Flock of Seagulls,
Fifty Foot Hose,
Second Layer,
Fad Gadget,
Man Eating Sloth,
Motorama,
Spoonie Gee,
The Sisters of Mercy,
Pere Ubu,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.