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 Cambodia and from Portland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Houston and Lyon.
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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Rakim to the crunk kids.
I played it at CBGB's.
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 Sarah Menescal. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Spandau Ballet,
Amon Düül II,
Terror Squad Feat. Camron,
Sound Behaviour,
Procol Harum,
Fela Kuti,
The Jesus and Mary Chain,
Matthew Bourne,
Sandy B,
Lee Hazlewood,
Ornette Coleman,
Lindisfarne,
Avey Tare & Kría Brekkan,
Malaria!,
Minny Pops,
Liaisons Dangereuses,
The West Coast Pop Art Experimental Band,
Bill Wells,
Gabor Szabo,
Brass Construction,
Second Layer,
John Holt,
Faraquet,
The Techniques,
Bobby Byrd,
Gian Franco Pienzio,
Zero Boys,
Freddie Wadling,
The Wake,
Magazine,
The Pop Group,
The Pretty Things,
Stockholm Monsters,
LL Cool J,
Deadbeat,
The Flesh Eaters,
X-Ray Spex,
Television Personalities,
Kenny Larkin,
The Grass Roots,
Peter and Kerry,
Neil Young & Crazy Horse,
8 Eyed Spy,
Toni Rubio,
kango's stein massive,
Gil Scott-Heron and Jamie xx,
The Fortunes,
Urselle,
Country Teasers,
Marvin Gaye,
Man Parrish,
World's Most,
The Modern Lovers,
Delon & Dalcan,
the Bar-Kays,
The Electric Prunes,
Crash Course in Science,
Ash Ra Tempel,
Alton Ellis,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.