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 Dominican Republic and from Calgary.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Yellowson to the funk 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 Letta Mbulu. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Neil Young & Crazy Horse,
The Mojo Men,
Jawbox,
Ultravox,
Siglo XX,
Audionom,
Lou Christie,
D'Angelo,
Glambeats Corp.,
Graham Central Station,
The Seeds,
Mo-Dettes,
Eyeless In Gaza,
The Cosmic Jokers,
Iggy Pop,
Nas,
Gian Franco Pienzio,
Joy Division,
the Bar-Kays,
DNA,
Country Joe & The Fish,
Junior Murvin,
John Cale,
Scan 7,
Michelle Simonal,
Dark Day,
The Divine Comedy,
Moss Icon,
Pole,
Johnny Osbourne,
Grey Daturas,
Donald Byrd,
Wally Richardson,
Lower 48,
David McCallum,
Banda Bassotti,
Radiopuhelimet,
Traffic Nightmare,
Lonnie Liston Smith,
Eddi Front,
Roxy Music,
Vladislav Delay,
The Standells,
The Doors,
The Black Dice,
Steve Hackett,
Lyres,
Faraquet,
Magazine,
Circle Jerks,
The Cure,
Henry Cow,
Lindisfarne,
The United States of America,
Adolescents,
Visage,
Ohio Players,
Ice-T,
Rakim,
Intrusion,
Sound Behaviour,
The Martian,
Motorama, Motorama, Motorama, Motorama.
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.