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 Ethiopia and from Manila.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Lyon and Madrid.
I'm losing my edge to the art-school Manchester 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 1968 at the first Can practice in a loft in Cologne.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Brass Construction to the disco 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 Crash Course in Science. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Marmalade 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Human League,
Marvin Gaye,
Popol Vuh,
The Star Department,
Jesper Dahlback,
The Dirtbombs,
Graham Central Station,
Main Source,
Cecil Taylor,
Magazine,
The Toasters,
Malaria!,
The Moody Blues,
Rod Modell,
Shoche,
Minutemen,
Joe Finger,
Gang Starr,
Crash Course in Science,
Grey Daturas,
B.T. Express,
Negative Approach,
Johnny Clarke,
Black Flag,
Babytalk,
Aural Exciters,
Public Enemy,
Electric Prunes,
The Martian,
the Association,
The Searchers,
Urselle,
Josef K,
Liliput,
The Pop Group,
Deepchord,
Tubeway Army,
Scion,
Ohio Players,
Eurythmics,
Pharaoh Sanders and the Fire Engines,
James White and The Blacks,
The Jesus and Mary Chain,
The Blues Magoos,
Oneida,
Deutsch Amerikanische Freundschaft,
Ronnie Foster,
PIL,
Wasted Youth,
Pulsallama,
The Doors,
Robert Görl,
The Detroit Cobras,
Pet Shop Boys,
Bad Manners,
Whodini,
Roy Ayers,
X-102,
Donald Byrd,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.