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 Slovakia and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Stockholm 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 rhodes sounds with much patience.
I was there when David Bowie 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 Matthew Halsall to the disco kids.
I played it at the Crocodile.
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 Soulsonic Force. All the underground hits.
All Nas tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Music Machine,
New Order,
Be Bop Deluxe,
The New Christs,
Crooked Eye,
Mandrill,
Black Flag,
Zapp,
Ornette Coleman,
Japan,
Robert Wyatt,
Jesper Dahlback,
Theoretical Girls,
Fugazi,
Scratch Acid,
The Names,
The Barracudas,
Audionom,
The Fortunes,
Minnie Riperton,
Sonic Youth,
Piero Umiliani,
Scott Walker + Sunn O))),
Hoover,
The Misunderstood,
Das Ding,
The Fuzztones,
Blossom Toes,
The Grass Roots,
The Martian,
Roy Ayers Ubiquity,
The Neon Judgement,
Faust,
The Tremeloes,
Wally Richardson,
Notorious BIG live in Amsterdam,
The Sonics,
Agitation Free,
Fear,
Marine Girls,
Byron Stingily,
Slave,
John Coltrane,
Suburban Knight,
Television,
The Chocolate Watch Band,
Con Funk Shun,
Stiv Bators,
KRS-One,
Sun Ra Arkestra,
Strawberry Alarm Clock,
cv313,
Richard Hell and the Voidoids,
The Fire Engines,
The Walker Brothers,
Q and Not U,
Lonnie Liston Smith,
Jesper Dahlbäck,
Terror Squad Feat. Camron,
Supertramp, Supertramp, Supertramp, Supertramp.
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.