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 Israel and from Spokane.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 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 Anthony Braxton to the rock 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 Chris & Cosey. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Procol Harum 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 '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
David Bowie,
Fad Gadget,
James Chance & The Contortions,
Roxy Music,
the Fania All-Stars,
Dawn Penn,
Brick,
Qualms,
The Moody Blues,
Scrapy,
Big Daddy Kane,
Carl Craig,
De La Soul & Jungle Brothers,
Depeche Mode,
MDC,
The Red Krayola,
Louis and Bebe Barron,
Sad Lovers and Giants,
Wire,
Sandy B,
Eden Ahbez,
Fear,
Procol Harum,
Jesper Dahlbäck,
The Fugs,
John Cale,
Pete Rock & C.L. Smooth,
The Victims,
Junior Murvin,
Ten City,
The West Coast Pop Art Experimental Band,
Tomorrow,
Urselle,
Circle Jerks,
Yusef Lateef,
Ronan,
Black Moon,
8 Eyed Spy,
Little Man,
Smog,
Siglo XX,
Wighnomy Brothers & Robag Wruhme,
Kerri Chandler,
Skriet,
New Age Steppers,
Pole,
DJ Style,
Avey Tare & Kría Brekkan,
Underground Resistance,
Fluxion,
ABC,
Alice Coltrane,
Eli Mardock,
Aswad,
The Seeds,
Faraquet,
Chrome,
EPMD,
Jacob Miller,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.