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 Libya and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1973.
I'm losing my edge.
To all the kids in Manchester and Bologna.
I'm losing my edge to the art-school Tehran 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 spring reverb 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 Anakelly to the techno 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 Boz Scaggs. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Pylon 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Mr. Review,
Janne Schatter,
Vainqueur,
Sound Behaviour,
Echospace,
Radio Birdman,
Sonny Sharrock,
Sex Pistols,
This Heat,
T.S.O.L.,
Deadbeat,
Funky Four + One,
Q65,
Lee Hazlewood,
48th St. Collective,
Kurtis Blow,
The Sonics,
Fort Wilson Riot,
Alice Coltrane,
The Standells,
The Mighty Diamonds,
U.S. Maple,
L. Decosne,
Animal Collective,
Kango’s Stein Massive,
Anthony Braxton,
Grauzone,
Eric Dolphy,
Desert Stars,
Nation of Ulysses,
Severed Heads,
Gang of Four,
Barry Ungar,
Visage,
Swell Maps,
Loose Ends,
Sonic Youth,
Röyhkä ja Rättö ja Lehtisalo,
Radiopuhelimet,
Babytalk,
Eurythmics,
Brand Nubian,
Bobby Sherman,
Soul Sonic Force,
Deakin,
Ornette Coleman,
Dual Sessions,
The Alarm Clocks,
Average White Band,
The Durutti Column,
Sexual Harrassment,
Cluster,
Jimmy McGriff,
Kas Product,
Franke,
Black Pus,
Blake Baxter,
The Royal Family And The Poor,
Isaac Hayes,
Kool G Rap & DJ Polo,
June Days, June Days, June Days, June Days.
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.