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 Guinea and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Toronto 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the organ 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 Anthony Braxton to the techno 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 Peter & Gordon. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Glambeats Corp.,
Eli Mardock,
The Sound,
Bootsy Collins,
Nick Fraelich,
Goldenarms,
The Blues Magoos,
The Kinks,
Harmonia,
Sight & Sound,
Skriet,
Traffic Nightmare,
Kool G Rap & DJ Polo,
The Chocolate Watch Band,
Mary Jane Girls,
John Coltrane,
Stiv Bators,
Amon Düül,
Malaria!,
The Trojans,
Adolescents,
The West Coast Pop Art Experimental Band,
Rakim,
China Crisis,
Agent Orange,
Brick,
Ronan,
Little Man,
Gil Scott-Heron & Brian Jackson,
Reagan Youth,
Yaz,
the Sonics,
Hot Snakes,
Sixth Finger,
The Monochrome Set,
The Techniques,
The Electric Prunes,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Lindisfarne,
Blake Baxter,
Vainqueur,
The Men They Couldn't Hang,
Black Bananas,
Notorious BIG live in Amsterdam,
Thompson Twins,
Country Teasers,
The Zeros,
Fad Gadget,
Boogie Down Productions,
Robert Wyatt,
10cc,
Terrestrial Tones,
The Saints,
The Dave Clark Five,
The Mojo Men,
The Dirtbombs,
The Neon Judgement,
Bad Manners,
The Real Kids,
Swans,
Section 25, Section 25, Section 25, Section 25.
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.