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 Cameroon and from Sao Paulo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
I'm losing my edge to the art-school Paris 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 theremin sounds with much patience.
I was there when Lou Reed 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 Basic Channel to the jazz 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 J.B.'s. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Skriet,
U.S. Maple,
Bill Wells,
David Bowie,
Red Lorry Yellow Lorry,
Interpol,
Goldenarms,
Soft Machine,
Kauko Röyhkä ja Narttu,
Josef K,
Chrome,
Hasil Adkins,
Eyeless In Gaza,
Gang Green,
Deutsch Amerikanische Freundschaft,
Brass Construction,
Gang Gang Dance,
Eric Dolphy,
The Cramps,
Crime,
James Chance & The Contortions,
Au Pairs,
Tomorrow,
Amazonics,
The Leaves,
Sister Nancy,
The Cure,
Half Japanese,
Amon Düül,
Khruangbin,
Peter & Gordon,
Second Layer,
The Five Americans,
The Star Department,
Rowland S Howard / Lydia Lunch,
Lee Hazlewood,
Bauhaus,
The Martian,
the Normal,
The Men They Couldn't Hang,
Johnny Clarke,
PIL,
EPMD,
Kerrie Biddell,
Moby Grape,
The Beau Brummels,
The Seeds,
Rapeman,
Cal Tjader,
Rekid,
Hashim,
The Fortunes,
Oneida,
Whodini,
Deepchord,
Roy Ayers Ubiquity,
Darondo,
The Human League,
Kaleidoscope,
Mission of Burma,
Joe Smooth,
Lucky Dragons,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.