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 Burundi and from New York.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Milan 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 Captain Beefheart 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 The Red Krayola to the grime kids.
I played it at Trash.
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 Joyce Sims. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Laurel Aitken,
Visage,
Amon Düül,
Crash Course in Science,
Lightning Bolt,
Gian Franco Pienzio,
Robert Görl,
The Misunderstood,
Maurizio,
Wings,
the Swans,
Funkadelic,
Sonic Youth,
Chris & Cosey,
Ultramagnetic MC's,
China Crisis,
John Coltrane,
Toni Rubio,
Maleditus Sound,
Mo-Dettes,
Girls At Our Best!,
Supertramp,
the Human League,
Yazoo,
Alice Coltrane,
The J.B.'s,
Newcleus,
Electric Prunes,
Nation of Ulysses,
The Flesh Eaters,
Cabaret Voltaire,
The Slackers,
Kauko Röyhkä ja Narttu,
Black Moon,
The Toasters,
Bauhaus,
Joe Smooth,
Scott Walker,
Rufus Thomas,
Mark Hollis,
New York Dolls,
Electric Light Orchestra,
Marc Almond,
Morten Harket,
Camberwell Now,
U.S. Maple,
The West Coast Pop Art Experimental Band,
Sun Ra Arkestra,
Sight & Sound,
The Monks,
Pete Rock & C.L. Smooth,
Chris Corsano,
D'Angelo,
The Smoke,
Whodini,
The Music Machine,
Jerry Gold Smith,
Major Organ And The Adding Machine,
Todd Terry,
June of 44, June of 44, June of 44, June of 44.
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.