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 El Salvador and from Beijing.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Spokane 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 organ 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 Davy DMX to the disco 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 Rekid. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Kaleidoscope 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 '60s cut and another box set from the '90s.
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 Aaron Thompson record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Camberwell Now,
Electric Light Orchestra,
Lalo Schifrin,
Magma,
the Soft Cell,
The Offenders,
kango's stein massive,
Terror Squad Feat. Camron,
the Fania All-Stars,
Grandmaster Flash,
Angels of Light & Akron/Family,
Peter and Kerry,
Marshall Jefferson,
Con Funk Shun,
Be Bop Deluxe,
Funkadelic,
Bobby Hutcherson,
Public Image Ltd.,
Hashim,
Lower 48,
The United States of America,
Jawbox,
Donny Hathaway,
The Smoke,
The Modern Lovers,
Spandau Ballet,
Blancmange,
The Martian,
Roger Hodgson,
Masters at Work,
Bush Tetras,
Boogie Down Productions,
Country Joe & The Fish,
Scratch Acid,
The Monochrome Set,
Kevin Saunderson,
Radio Birdman,
Brothers Johnson,
The Human League,
The Royal Family And The Poor,
Bobby Sherman,
The Peanut Butter Conspiracy,
Thee Headcoats,
Sam Rivers,
John Cale,
Rod Modell,
Man Parrish,
Popol Vuh,
Jeru the Damaja,
Terrestrial Tones,
A Flock of Seagulls,
Jacob Miller,
Main Source,
Swell Maps,
Scan 7,
PIL,
Cheater Slicks,
The Neon Judgement,
Radiohead,
Sarah Menescal,
The Music Machine,
Trumans Water,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.