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 United States and from Edmonton.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 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 Simply Red to the disco 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 Con Funk Shun. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Marshall Jefferson,
Dual Sessions,
The Dave Clark Five,
Harry Pussy,
Sarah Menescal,
The Misunderstood,
New Order,
The Star Department,
Todd Rundgren,
Piero Umiliani,
Lyres,
Heavy D & The Boyz,
Gang Gang Dance,
Ludus,
48th St. Collective,
Mad Mike,
The Names,
Janne Schatter,
The Real Kids,
Jacques Brel,
Altered Images,
Andrew Ashong & Theo Parrish,
Ultramagnetic MC's,
Ornette Coleman,
David McCallum,
KRS-One,
Sexual Harrassment,
Amazonics,
Stiv Bators,
Marc Romboy vs. Booka Shade,
Sly & The Family Stone,
Bobby Hutcherson,
Barrington Levy,
Electric Light Orchestra,
Gang Starr,
Minutemen,
Dorothy Ashby,
Patti Smith,
Dawn Penn,
Soft Cell,
Hot Snakes,
Drexciya,
Archie Shepp,
Brass Construction,
Bang on a Can All-Stars,
Rapeman,
Gichy Dan,
Theoretical Girls,
Cheater Slicks,
the Soft Cell,
Tommy Roe,
Scott Walker,
PIL,
Electric Prunes,
Gary Puckett & The Union Gap,
Grandmaster Flash,
Magazine,
The Pop Group,
Fugazi,
The Jesus and Mary Chain,
Susan Cadogan,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.