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 Dominica and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Accra and Salvador.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Faust to the punk kids.
I played it at the Astoria.
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 June Days. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Barclay James Harvest,
Pharoah Sanders,
Flash Fearless,
The Alarm Clocks,
Clear Light,
Roy Ayers Ubiquity,
London Community Gospel Choir,
Scratch Acid,
Stetsasonic,
Althea and Donna,
the Swans,
Rosa Yemen,
Carl Craig,
Nation of Ulysses,
Suicide,
FM Einheit,
Black Pus,
The United States of America,
The Fire Engines,
Jerry Gold Smith,
K-Klass,
Severed Heads,
Idris Muhammad,
Drexciya,
De La Soul & Jungle Brothers,
the Germs,
Country Teasers,
Josef K,
Crispian St. Peters,
The Dave Clark Five,
The Zeros,
Eden Ahbez,
Avey Tare & Kría Brekkan,
Boz Scaggs,
Agent Orange,
Kas Product,
Rhythim Is Rhythim,
The Beau Brummels,
Gian Franco Pienzio,
UT,
PIL,
Neil Young,
Erykah Badu,
Loose Ends,
Johnny Clarke,
Animal Collective,
The Dead C,
Sun Ra Arkestra,
The Residents,
Suburban Knight,
The Modern Lovers,
Gil Scott-Heron and Jamie xx,
Malaria!,
The Mighty Diamonds,
Wire,
Bauhaus,
KRS-One,
Marshall Jefferson,
L. Decosne,
Faust,
The Fuzztones,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.