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 Japan and from Tokyo.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Halifax and New York.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Ornette Coleman to the crunk kids.
I played it at the 40 Watt.
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 Doors. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Tim Buckley record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
X-102,
Bobby Womack,
Yellowson,
Wasted Youth,
Eyeless In Gaza,
Kerri Chandler,
The Dead C,
Jawbox,
Boogie Down Productions,
the Germs,
UT,
Gil Scott-Heron and Jamie xx,
Grey Daturas,
Eden Ahbez,
Jandek,
Roxy Music,
the Soft Cell,
Liliput,
The Detroit Cobras,
Icehouse,
Fatback Band,
David Axelrod,
Skriet,
Pharaoh Sanders and the Fire Engines,
The Durutti Column,
CMW,
Thinking Fellers Union Local 282,
Al Stewart,
Matthew Halsall,
The Wake,
Moss Icon,
Rhythm & Sound,
Little Man,
Peter & Gordon,
Dawn Penn,
Marc Almond,
Babytalk,
Dorothy Ashby,
The Real Kids,
The Buckinghams,
Super Lover Cee & Casanova Rud,
Arthur Verocai,
Barclay James Harvest,
Tropical Tobacco,
Jerry Gold Smith,
The Selecter,
The Human League,
Cabaret Voltaire,
OOIOO,
Neil Young & Crazy Horse,
Lungfish,
the Bar-Kays,
Sight & Sound,
DJ Sneak,
Rufus Thomas,
The Flesh Eaters,
Joy Division,
The Barracudas,
Maleditus Sound,
Gil Scott Heron,
Pulsallama,
Goldenarms,
Donny Hathaway,
The Fugs, The Fugs, The Fugs, The Fugs.
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.