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 Czech Republic and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Madrid 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 to the disco kids.
I played it at the Astoria.
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 ABBA. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '80s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
The Durutti Column,
Adolescents,
The Dave Clark Five,
Roger Hodgson,
Crash Course in Science,
The Modern Lovers,
Eric Dolphy,
Lucky Dragons,
Gastr Del Sol,
Manfred Mann's Earth Band,
Jacob Miller,
Mantronix,
Scratch Acid,
The New Christs,
Letta Mbulu,
Peter and Kerry,
The Moody Blues,
Strawberry Alarm Clock,
Blancmange,
Colin Newman,
the Swans,
The Associates,
Scion,
Joensuu 1685,
Man Parrish,
Robert Görl,
Lalann,
The Vogues,
8 Eyed Spy,
New Order,
Drexciya,
The Beau Brummels,
Alphaville,
John Coltrane,
Janne Schatter,
Gil Scott-Heron & Brian Jackson,
The Royal Family And The Poor,
The Electric Prunes,
the Fania All-Stars,
Ken Boothe,
Kaleidoscope,
Harry Pussy,
Young Marble Giants,
Nirvana,
The Happenings,
Stereo Dub,
Eli Mardock,
Archie Shepp,
Circle Jerks,
Nas,
KRS-One,
Gong,
Quantec,
Bauhaus,
Lindisfarne,
John Foxx,
the Sonics,
Guru Guru,
Zero Boys,
Deadbeat,
Big Daddy Kane,
Marvin Gaye, Marvin Gaye, Marvin Gaye, Marvin Gaye.
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.