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 East Timor and from Hong Kong.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 K-Klass 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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Dirtbombs 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
The Music Machine,
The Remains,
Magma,
Unrelated Segments,
Section 25,
Byron Stingily,
The Buckinghams,
Mo-Dettes,
Fugazi,
Bauhaus,
Kauko Röyhkä ja Narttu,
Lalo Schifrin,
F. McDonald,
Wings,
Kevin Saunderson,
Theoretical Girls,
the Association,
Albert Ayler,
Livin' Joy,
The J.B.'s,
Gang of Four,
Index,
The Monochrome Set,
The Shadows of Knight,
David McCallum,
Simply Red,
Radio Birdman,
Vladislav Delay,
Nik Kershaw,
Morten Harket,
Avey Tare,
Sällskapet,
Chris Corsano,
Blake Baxter,
Bootsy's Rubber Band,
Deutsch Amerikanische Freundschaft,
The Human League,
The Alarm Clocks,
Derrick Morgan,
Harry Pussy,
Captain Beefheart & His Magic Band,
Toni Rubio,
Barbara Tucker,
Peter & Gordon,
Andrew Hill,
Intrusion,
Minutemen,
Los Fastidios,
Sun City Girls,
Junior Murvin,
Colin Newman,
Rod Modell,
Crime,
New York Dolls,
Sun Ra Arkestra,
Ronan,
Scratch Acid,
Joensuu 1685,
Rotary Connection,
Amazonics,
The Barracudas,
Laurel Aitken,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.