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 Iran and from Seoul.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Mumbai 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 spring reverb 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 Neil Young & Crazy Horse to the electroclash kids.
I played it at the Hacienda.
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 Masters at Work. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Bootsy Collins,
John Holt,
The Selecter,
Soulsonic Force,
The Electric Prunes,
Marine Girls,
Bobbi Humphrey,
Nation of Ulysses,
Q65,
Pete Rock & C.L. Smooth,
Black Sheep,
Man Parrish,
Rhythm & Sound,
Prince Buster,
Aaron Thompson,
Scott Walker + Sunn O))),
Tears for Fears,
Roxette,
The Smiths,
Archie Shepp,
The Alarm Clocks,
New Order,
Dark Day,
Depeche Mode,
Bobby Womack,
Desert Stars,
Gang of Four,
Leonard Cohen,
Index,
Essential Logic,
Das Ding,
the Swans,
Nico,
Notorious BIG live in Amsterdam,
Vladislav Delay,
Ossler,
Curtis Mayfield,
Fifty Foot Hose,
The Remains,
Minnie Riperton,
Andrew Ashong & Theo Parrish,
Newcleus,
Toni Rubio,
Girls At Our Best!,
Zero Boys,
New Age Steppers,
Gang Green,
Maleditus Sound,
New York Dolls,
Icehouse,
ABC,
Saccharine Trust,
Subhumans,
Freddie Wadling,
Pere Ubu,
Guru Guru,
The Slackers,
DJ Sneak,
Grandmaster Flash,
Marc Almond,
Eve St. Jones,
Can, Can, Can, Can.
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.