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 Kuwait and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Jeru the Damaja to the electroclash kids.
I played it at the Troubador.
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 Babytalk. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Boredoms 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
The Misunderstood,
Sister Nancy,
The Cosmic Jokers,
Cheater Slicks,
The Vogues,
Stereo Dub,
the Germs,
Faraquet,
The Fuzztones,
Pulsallama,
Barclay James Harvest,
Excepter,
Glambeats Corp.,
Flamin' Groovies,
The Star Department,
Albert Ayler,
Lalann,
Bang On A Can,
the Normal,
China Crisis,
Idris Muhammad,
Grandmaster Flash and the Furious Five,
Sugar Minott,
Leonard Cohen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Busters,
Supertramp,
Drexciya,
John Lydon,
Soulsonic Force,
Subhumans,
The Flesh Eaters,
Reuben Wilson,
Arab on Radar,
Qualms,
Lungfish,
Boogie Down Productions,
Half Japanese,
John Cale,
Harpers Bizarre,
Mars,
Throbbing Gristle,
Charles Mingus,
Robert Görl,
Rotary Connection,
Black Moon,
Gian Franco Pienzio,
Fat Boys,
Adolescents,
Sam Rivers,
The Evens,
Heavy D & The Boyz,
Pussy Galore,
Cecil Taylor,
The Dirtbombs,
Index,
the Human League,
Yellowson,
June Days,
the Slits,
Ten City,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.