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 Congo and from Mexico City.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Accra and Calgary.
I'm losing my edge to the art-school Stockholm 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Pole 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 Pharoah Sanders. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Howard Jones 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Young Marble Giants,
Vainqueur,
Angels of Light & Akron/Family,
Franke,
Max Romeo,
Funky Four + One,
The Golliwogs,
The Gun Club,
Graham Central Station,
Dr. Dre and Snoop Doggy Dog,
Metal Thangz,
Roxy Music,
Lonnie Liston Smith,
John Holt,
John Foxx,
A Certain Ratio,
KRS-One,
Sex Pistols,
John Coltrane,
Pagans,
Lalo Schifrin,
Pantytec,
Pussy Galore,
Ten City,
T. Rex,
The Busters,
Glenn Branca,
Organ,
Ajijia Myrayebe,
Urselle,
DeepChord presents Echospace,
Fad Gadget,
Fluxion,
Kurtis Blow,
Half Japanese,
Big Daddy Kane,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
L. Decosne,
Man Parrish,
Beasts of Bourbon,
Ludus,
Public Image Ltd.,
Orchestral Manoeuvres in the Dark,
Brand Nubian,
The Dead C,
Gary Puckett & The Union Gap,
Maleditus Sound,
Ultramagnetic MC's,
Deutsch Amerikanische Freundschaft,
The Leaves,
OOIOO,
the Swans,
Howard Jones,
Tropical Tobacco,
Ohio Players,
LL Cool J,
Ken Boothe,
The Sonics,
the Germs,
Eve St. Jones,
Dawn Penn,
Hoover, Hoover, Hoover, Hoover.
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.