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 Argentina and from Delhi.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Portland 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 synthesizer 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 Thee Headcoats 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 Bobby Sherman. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Cheater Slicks 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Albert Ayler,
Delon & Dalcan,
Don Cherry,
Johnny Osbourne,
Warren Ellis,
The Motions,
Yusef Lateef,
The Monochrome Set,
Rhythm & Sound,
Circle Jerks,
Eve St. Jones,
Notorious BIG live in Amsterdam,
Ossler,
Agent Orange,
Art Ensemble Of Chicago,
Moby Grape,
Scion,
The Durutti Column,
Public Image Ltd.,
Ice-T,
8 Eyed Spy,
Darondo,
Kool G Rap & DJ Polo,
Fluxion,
Liliput,
Rhythim Is Rhythim,
June Days,
Wally Richardson,
Bang on a Can All-Stars,
The Monks,
These Immortal Souls,
Ultra Naté,
Lou Reed & Metallica,
Pagans,
Roxette,
Sex Pistols,
David McCallum,
the Slits,
Jeru the Damaja,
The Pop Group,
John Lydon,
Ronnie Foster,
Subhumans,
The Gap Band,
Ultramagnetic MC's,
Maurizio,
The Sonics,
Bang On A Can,
New Age Steppers,
Jesper Dahlbäck,
Neil Young & Crazy Horse,
Marcia Griffiths,
Henry Cow,
Flipper,
Rowland S Howard / Lydia Lunch,
Unwound,
the Soft Cell,
Scott Walker + Sunn O))),
Mantronix,
The American Breed,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.