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 Kyrgyzstan and from Cairo.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Bremen and Spokane.
I'm losing my edge to the art-school Toronto 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the marimba 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 Barry Ungar to the dance kids.
I played it at Trash.
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 Circle Jerks. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Hoover,
The American Breed,
The Residents,
KRS-One,
Talk Talk,
Tommy Roe,
Minutemen,
Swell Maps,
Model 500,
The Dead C,
Davy DMX,
The Detroit Cobras,
the Normal,
Barry Ungar,
Red Lorry Yellow Lorry,
Joyce Sims,
UT,
Clear Light,
Pulsallama,
The Birthday Party,
Laurel Aitken,
Arab on Radar,
Tropical Tobacco,
Judy Mowatt,
Spandau Ballet,
Big Daddy Kane,
Scratch Acid,
Cymande,
The Red Krayola,
Echospace,
Bauhaus,
Aswad,
Faust,
Sunsets and Hearts,
Byron Stingily,
Jerry Gold Smith,
Rosa Yemen,
The Jesus and Mary Chain,
Mark Hollis,
Mission of Burma,
Flash Fearless,
Roy Ayers Ubiquity,
Boz Scaggs,
Vainqueur,
Althea and Donna,
China Crisis,
the Swans,
Faraquet,
Brothers Johnson,
Television Personalities,
Heavy D & The Boyz,
Eric Dolphy,
Terry Callier,
Gil Scott-Heron and Jamie xx,
Roy Ayers,
Gang Gang Dance,
The Vogues,
Zapp,
Dennis Brown,
Andrew Hill,
Marvin Gaye, Marvin Gaye, Marvin Gaye, Marvin Gaye.
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.