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 Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Calgary and Tehran.
I'm losing my edge to the art-school Bologna 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 X-102 to the crunk 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 James Chance & The Contortions. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
The Associates,
Chris & Cosey,
Maurizio,
The J.B.'s,
Spoonie Gee,
Aaron Thompson,
Infiniti,
Angry Samoans,
X-102,
Khruangbin,
Lou Christie,
The Misunderstood,
The Star Department,
the Slits,
Intrusion,
Pagans,
Boredoms,
F. McDonald,
Frankie Knuckles,
Toni Rubio,
Lee Hazlewood,
Deutsch Amerikanische Freundschaft,
Rosa Yemen,
Crispy Ambulance,
Albert Ayler,
Joe Smooth,
Susan Cadogan,
Bizarre Inc.,
Cecil Taylor,
The Cramps,
Deakin,
Ultravox,
Soul II Soul,
Das Ding,
The Seeds,
Freddie Wadling,
Yaz,
The Doobie Brothers,
DeepChord presents Echospace,
Model 500,
Mad Mike,
Maleditus Sound,
Cluster,
Ossler,
Cheater Slicks,
Larry & the Blue Notes,
Ornette Coleman,
Altered Images,
Underground Resistance,
Ronan,
Lalo Schifrin,
Sun Ra,
Jimmy McGriff,
Althea and Donna,
Be Bop Deluxe,
Saccharine Trust,
Amazonics,
Simply Red,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.