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 Peru and from Lagos.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Lille and Manchester.
I'm losing my edge to the art-school Seoul 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 snare 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 Motorama to the funk kids.
I played it at the Spitz.
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 Happenings. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal grime 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 a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
The Move,
Robert Hood,
Alton Ellis,
Graham Central Station,
Second Layer,
Blancmange,
Eddi Front,
The Mojo Men,
Curtis Mayfield,
Gabor Szabo,
Stetsasonic,
Lalo Schifrin,
Skriet,
The Fugs,
Buzzcocks,
Brothers Johnson,
The Dave Clark Five,
The Martian,
The Birthday Party,
The Jesus and Mary Chain,
The Cowsills,
Junior Murvin,
Underground Resistance,
Major Organ And The Adding Machine,
Marc Romboy vs. Booka Shade,
OOIOO,
Pylon,
The Moleskins,
Dual Sessions,
Los Fastidios,
Mary Jane Girls,
Gil Scott-Heron and Jamie xx,
Quando Quango,
In Retrospect,
Pulsallama,
Derrick May,
The Dirtbombs,
Rhythm & Sound,
Essential Logic,
David McCallum,
Man Parrish,
Fifty Foot Hose,
Michelle Simonal,
Scott Walker + Sunn O))),
Leonard Cohen,
Chrome,
Erasure,
Soft Machine,
Tommy Roe,
Big Daddy Kane,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Visionaries,LMNO, T- Love & Iriscience,
The Mighty Diamonds,
Echospace,
Lungfish,
Byron Stingily,
Siouxsie and the Banshees,
Sarah Menescal,
Unrelated Segments,
Rapeman,
Maleditus Sound,
Cameo,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.