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 Sudan and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Paris 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 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Throbbing Gristle to the techno kids.
I played it at the Troubador.
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 The Victims. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
China Crisis,
The Seeds,
The New Christs,
Slick Rick,
David Axelrod,
The Doors,
Wolf Eyes,
The Moody Blues,
Bizarre Inc.,
Drive Like Jehu,
The Gladiators,
Porter Ricks,
Chris Corsano,
Idris Muhammad,
Dorothy Ashby,
Art Ensemble Of Chicago,
Roger Hodgson,
The Shadows of Knight,
Soul Sonic Force,
James Chance & The Contortions,
Black Pus,
The Associates,
Peter & Gordon,
London Community Gospel Choir,
The Fuzztones,
Skarface,
Saccharine Trust,
Laurel Aitken,
Interpol,
Sonic Youth,
Fela Kuti,
The Mojo Men,
Absolute Body Control,
Pete Rock & C.L. Smooth,
the Germs,
Kevin Saunderson,
Lebanon Hanover,
Nation of Ulysses,
Tomorrow,
Andrew Ashong & Theo Parrish,
The American Breed,
Desert Stars,
Pharaoh Sanders and the Fire Engines,
Bluetip,
Bronski Beat,
Glenn Branca,
Aswad,
Pagans,
The Chocolate Watch Band,
Bootsy's Rubber Band,
Aaron Thompson,
Ornette Coleman,
The Knickerbockers,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Womack,
Eddi Front,
Rakim,
June Days,
Pole,
Alison Limerick,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.