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 Venezuela and from Shanghai.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Milan.
I'm losing my edge to the art-school Bremen 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 sitar 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 Maurizio to the disco kids.
I played it at the Hacienda.
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 Nation of Ulysses. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Walker Brothers,
Art Ensemble Of Chicago,
the Bar-Kays,
Dark Day,
Sandy B,
Stockholm Monsters,
Cheater Slicks,
The American Breed,
Manfred Mann's Earth Band,
Newcleus,
Sun Ra Arkestra,
Parry Music,
Amazonics,
Thompson Twins,
cv313,
the Association,
Donald Byrd,
Ten City,
Scrapy,
Lizzy Mercier Descloux,
Gabor Szabo,
Jesper Dahlbäck,
Easy Going,
Can,
F. McDonald,
The Trojans,
KRS-One,
Smog,
Super Lover Cee & Casanova Rud,
Kango’s Stein Massive,
Davy DMX,
JFA,
Gang Green,
Fluxion,
Jandek,
MC5,
Eric B and Rakim,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Girls At Our Best!,
Pet Shop Boys,
Faraquet,
Spoonie Gee,
Pantytec,
Accadde A,
Echospace,
John Cale,
Guru Guru,
Groovy Waters,
Gichy Dan,
Malaria!,
Boz Scaggs,
AZ,
DeepChord presents Echospace,
Wally Richardson,
The Sisters of Mercy,
The Gun Club,
Animal Collective,
Flamin' Groovies,
Red Lorry Yellow Lorry,
Bootsy Collins,
Loose Ends,
The Human League, The Human League, The Human League, The Human League.
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.