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 Mumbai.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Taipei and Tokyo.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 The Smoke to the dance 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 Wake. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Trumans Water 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Aaron Thompson,
David Axelrod,
Half Japanese,
Rekid,
Lou Reed & John Cale,
Dark Day,
Cameo,
Chris Corsano,
The Birthday Party,
Cymande,
Roy Ayers Ubiquity,
Terrestrial Tones,
The Five Americans,
Maleditus Sound,
Davy DMX,
Funkadelic,
Louis and Bebe Barron,
Gastr Del Sol,
New York Dolls,
Amon Düül II,
Motorama,
Jimmy McGriff,
Ash Ra Tempel,
The Skatalites,
London Community Gospel Choir,
Don Cherry,
Teenage Jesus and the Jerks,
Organ,
Juan Atkins,
The Jesus and Mary Chain,
The Mummies,
Sugar Minott,
Stockholm Monsters,
Bill Near,
Gang Gang Dance,
Theoretical Girls,
Pantaleimon,
Talk Talk,
Boredoms,
Goldenarms,
Lucky Dragons,
Kenny Larkin,
Anthony Braxton,
The Fugs,
Dave Gahan,
The Names,
Agitation Free,
Los Fastidios,
Josef K,
Lalann,
Gil Scott Heron,
Bobbi Humphrey,
Kerri Chandler,
DJ Style,
Gerry Rafferty,
Mandrill,
The Associates,
Scientists,
Schoolly D,
Aural Exciters,
Siglo XX,
Q and Not U,
Lakeside, Lakeside, Lakeside, Lakeside.
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.