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 New Zealand and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Agent Orange to the jazz kids.
I played it at the Spitz.
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 Notorious Big And Bone Thugs. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Gang Green 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Absolute Body Control,
Nas,
Man Eating Sloth,
Andrew Ashong & Theo Parrish,
Amazonics,
Essential Logic,
Oblivians,
Bluetip,
Kings Of Tomorrow,
Icehouse,
The Victims,
Wings,
Alphaville,
Neil Young & Crazy Horse,
Animal Collective,
Susan Cadogan,
Bauhaus,
Joe Smooth,
Circle Jerks,
Delon & Dalcan,
Deakin,
Whodini,
Sun Ra Arkestra,
These Immortal Souls,
Urselle,
Brand Nubian,
Sex Pistols,
Quantec,
Scan 7,
Agent Orange,
Talk Talk,
B.T. Express,
Ronnie Foster,
Lebanon Hanover,
U.S. Maple,
Swans,
Fad Gadget,
Minnie Riperton,
Y Pants,
This Heat,
Blancmange,
The Pretty Things,
Jerry's Kids,
Funkadelic,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Jesus and Mary Chain,
Danielle Patucci,
Laurel Aitken,
Fear,
Selector Dub Narcotic,
Major Organ And The Adding Machine,
Minny Pops,
Johnny Osbourne,
Gang of Four,
Interpol,
Jesper Dahlbäck,
Lakeside,
Prince Buster,
The Stooges,
Gian Franco Pienzio,
Skaos,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.