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 Liberia and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Animal Collective to the techno kids.
I played it at the Astoria.
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 Chrome. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Tommy Roe 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 '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Jesper Dahlbäck,
Charles Mingus,
Tom Boy,
Negative Approach,
The Angels of Light,
Funky Four + One,
Tears for Fears,
F. McDonald,
Skarface,
Vladislav Delay,
Interpol,
Neil Young,
Traffic Nightmare,
A Certain Ratio,
Visage,
Peter Gordon & Love of Life Orchestra,
Echo & the Bunnymen,
Gang Green,
The J.B.'s,
Letta Mbulu,
Rites of Spring,
Mr. Review,
B.T. Express,
Strawberry Alarm Clock,
Marshall Jefferson,
Buzzcocks,
Warren Ellis,
Smog,
The Motions,
Dennis Brown,
Roy Ayers,
Bill Near,
Black Sheep,
Eddi Front,
Gil Scott-Heron and Jamie xx,
Röyhkä ja Rättö ja Lehtisalo,
Brass Construction,
Dawn Penn,
Piero Umiliani,
The Slackers,
Pierre Henry,
Japan,
Connie Case,
Isaac Hayes,
Vaughan Mason & Crew,
Nas,
Spoonie Gee,
The Doobie Brothers,
Bronski Beat,
Procol Harum,
Reuben Wilson,
Bob Dylan,
Mantronix,
Lower 48,
Stetsasonic,
Saccharine Trust,
Kerri Chandler,
Theoretical Girls,
Grey Daturas,
Gerry Rafferty,
The Fuzztones,
Scan 7,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.