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 Tanzania and from Seoul.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Glasgow 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 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 Avey Tare's Slasher Flicks to the grime kids.
I played it at the Troubador.
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 Count Five. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Main Source 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Pet Shop Boys,
June Days,
Panda Bear,
Lou Reed & Metallica,
The Fuzztones,
the Normal,
the Sonics,
Qualms,
Pagans,
Kenny Larkin,
The Five Americans,
Ultra Naté,
Alice Coltrane,
Cheater Slicks,
Marshall Jefferson,
Scion,
Pussy Galore,
Notorious Big And Bone Thugs,
Hardrive,
Notorious BIG live in Amsterdam,
Anthony Braxton,
Letta Mbulu,
The Doobie Brothers,
X-Ray Spex,
Aural Exciters,
Gian Franco Pienzio,
Minny Pops,
Bang on a Can All-Stars,
Kaleidoscope,
Rod Modell,
Pierre Henry,
Sugar Minott,
Graham Central Station,
Index,
The Fall,
Das Ding,
Donald Byrd,
Scratch Acid,
Camouflage,
Rites of Spring,
Eve St. Jones,
Teenage Jesus and the Jerks,
The Blues Magoos,
Stereo Dub,
Subhumans,
Television,
The Invisible,
EPMD,
Roxy Music,
Outsiders,
Electric Light Orchestra,
The Wake,
The Doors,
Soft Cell,
Fela Kuti,
Joensuu 1685,
Ultramagnetic MC's,
KRS-One,
Rapeman,
The Divine Comedy,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.