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 Iraq and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in London and Tehran.
I'm losing my edge to the art-school Lille 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 Rod Modell to the crunk kids.
I played it at CBGB's.
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 Rhythim Is Rhythim. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal disco 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Severed Heads,
The Evens,
Anthony Braxton,
Jawbox,
Franke,
Andrew Hill,
Black Bananas,
The Victims,
The Star Department,
John Coltrane,
X-Ray Spex,
Tommy Roe,
La Düsseldorf,
Big Daddy Kane,
The Sound,
Trumans Water,
Khruangbin,
Outsiders,
Orchestral Manoeuvres in the Dark,
Warren Ellis,
Technova,
The Happenings,
the Soft Cell,
E-Dancer,
X-102,
Eric B and Rakim,
F. McDonald,
The Five Americans,
Josef K,
Be Bop Deluxe,
The New Christs,
Masters at Work,
The Gladiators,
Half Japanese,
Man Parrish,
The Motions,
Magazine,
Index,
Patti Smith,
Animal Collective,
Stiv Bators,
De La Soul & Jungle Brothers,
Scan 7,
Hot Snakes,
Joe Smooth,
the Normal,
Louis and Bebe Barron,
Minor Threat,
Robert Görl,
Fela Kuti,
Steve Hackett,
The Fuzztones,
The Saints,
One Last Wish,
Inner City,
Nation of Ulysses,
June of 44,
10cc,
K-Klass,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.