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 Vanuatu and from Taipei.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 funk 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 Kango’s Stein Massive. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Ash Ra Tempel 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 clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
The Doors,
Ituana,
DNA,
The Litter,
Yaz,
Andrew Hill,
Drive Like Jehu,
Rites of Spring,
Flipper,
Avey Tare,
Teenage Jesus and the Jerks,
Bad Manners,
Kango’s Stein Massive,
Malaria!,
Kenny Larkin,
Skriet,
Surgeon,
Nico,
Radiohead,
Bobby Hutcherson,
FM Einheit,
Deadbeat,
Brass Construction,
John Lydon,
The United States of America,
Michelle Simonal,
Qualms,
Unwound,
Jeru the Damaja,
Royal Trux,
The Durutti Column,
Clear Light,
Red Lorry Yellow Lorry,
Can,
CMW,
Hardrive,
Joensuu 1685,
Barclay James Harvest,
Ponytail,
The Motions,
The Mummies,
The Mighty Diamonds,
Motorama,
Terry Callier,
Davy DMX,
Circle Jerks,
Siouxsie and the Banshees,
Subhumans,
Monks,
Warsaw,
the Soft Cell,
Boredoms,
Nation of Ulysses,
Dorothy Ashby,
48th St. Collective,
The Residents,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Johnny Osbourne,
Crispy Ambulance,
Ludus,
Grandmaster Flash,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.