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 Monaco and from Bremen.
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 1979.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Sao Paulo 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Parry Music to the grunge 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 United States of America. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Franke 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
The Motions,
Second Layer,
Louis and Bebe Barron,
Warren Ellis,
Strawberry Alarm Clock,
Roxy Music,
Deutsch Amerikanische Freundschaft,
Skarface,
The Barracudas,
The Invisible,
JFA,
Davy DMX,
Carl Craig,
Urselle,
Brick,
Pharaoh Sanders and the Fire Engines,
Soulsonic Force,
Wire,
Loose Ends,
Selector Dub Narcotic,
Dave Gahan,
Wally Richardson,
Moby Grape,
Sister Nancy,
The Red Krayola,
Minor Threat,
Deakin,
Rod Modell,
Johnny Clarke,
Ossler,
The Busters,
David Bowie,
Eric Copeland,
Model 500,
Dead Boys,
Cecil Taylor,
Gong,
Major Organ And The Adding Machine,
Flash Fearless,
Radiohead,
Scrapy,
Albert Ayler,
Super Lover Cee & Casanova Rud,
Leonard Cohen,
Lebanon Hanover,
Arthur Verocai,
Jawbox,
Rhythim Is Rhythim,
Stetsasonic,
The Vogues,
DJ Sneak,
Cabaret Voltaire,
Gastr Del Sol,
Larry & the Blue Notes,
Cameo,
Yellowson,
Little Man,
Yazoo,
OOIOO,
Lower 48,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.