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 Switzerland and from Hong Kong.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
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 Selda practice in a loft in Istanbul.
I was working on the oboe 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 Radiopuhelimet to the rock 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 The Happenings. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Ohio Players,
London Community Gospel Choir,
Soulsonic Force,
The Count Five,
Ponytail,
Mandrill,
E-Dancer,
Cabaret Voltaire,
Peter and Kerry,
Johnny Clarke,
Jeru the Damaja,
Heavy D & The Boyz,
Wighnomy Brothers & Robag Wruhme,
Animal Collective,
Brothers Johnson,
Avey Tare's Slasher Flicks,
The Gories,
Yazoo,
Icehouse,
Masters at Work,
The Selecter,
UT,
Scrapy,
Charles Mingus,
Liaisons Dangereuses,
Cameo,
Red Lorry Yellow Lorry,
Desert Stars,
Y Pants,
Rod Modell,
The Kinks,
June of 44,
Buzzcocks,
Adolescents,
Blancmange,
Gang Gang Dance,
Minny Pops,
Slave,
Severed Heads,
The Divine Comedy,
Grandmaster Flash,
Grauzone,
This Heat,
Susan Cadogan,
Flamin' Groovies,
Whodini,
The Black Dice,
In Retrospect,
Lucky Dragons,
Man Parrish,
Public Image Ltd.,
Section 25,
Eyeless In Gaza,
Todd Terry,
One Last Wish,
Moebius,
Dorothy Ashby,
Kaleidoscope,
Alton Ellis,
Louis and Bebe Barron,
Wings, Wings, Wings, Wings.
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.