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 Papua New Guinea and from Madrid.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Madrid 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 Holger Czukay 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 Shoche to the rap kids.
I played it at the Roxy.
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 Bob Dylan. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Blancmange 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 '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
The Doors,
Ash Ra Tempel,
Hashim,
Interpol,
Idris Muhammad,
Oppenheimer Analysis,
Lou Reed & Metallica,
Agent Orange,
Lou Christie,
Q65,
Dark Day,
Curtis Mayfield,
X-101,
Jeff Mills,
John Holt,
Siglo XX,
Marine Girls,
Fear,
Lalo Schifrin,
James White and The Blacks,
Franke,
Dennis Brown,
Carl Craig,
Bootsy's Rubber Band,
Public Enemy,
Technova,
Grauzone,
Loose Ends,
Ultimate Spinach,
The Raincoats,
Dawn Penn,
E-Dancer,
Black Moon,
Severed Heads,
Byron Stingily,
Au Pairs,
Groovy Waters,
Kaleidoscope,
The Sisters of Mercy,
The Happenings,
The Residents,
Matthew Halsall,
Rakim,
Max Romeo,
the Fania All-Stars,
Fatback Band,
Section 25,
Malaria!,
James Chance & The Contortions,
Index,
Cymande,
Graham Central Station,
Fugazi,
Sonic Youth,
Sarah Menescal,
Kurtis Blow,
A Certain Ratio,
Youth Brigade,
Siouxsie and the Banshees,
Neil Young & Crazy Horse,
Stetsasonic,
Rahsaan Roland Kirk,
Gang Green, Gang Green, Gang Green, Gang Green.
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.