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 Pakistan and from Houston.
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 Glasgow and Houston.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 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 Roy Ayers to the rap 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 Sonics. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Juan Atkins,
The Offenders,
Big Daddy Kane,
Flipper,
Bizarre Inc.,
The Buckinghams,
Intrusion,
Roxette,
Bad Manners,
Fort Wilson Riot,
Josef K,
China Crisis,
Livin' Joy,
Pere Ubu,
Manfred Mann's Earth Band,
The Index,
Jimmy McGriff,
Subhumans,
June of 44,
Supertramp,
Jesper Dahlback,
Ultra Naté,
Angels of Light & Akron/Family,
The Busters,
Jandek,
Brick,
The Electric Prunes,
Sun City Girls,
Camberwell Now,
The Moleskins,
John Coltrane,
Thee Headcoats,
De La Soul & Jungle Brothers,
The Knickerbockers,
Negative Approach,
Lakeside,
Alice Coltrane,
The Alarm Clocks,
Larry & the Blue Notes,
Stereo Dub,
The Divine Comedy,
Kool G Rap & DJ Polo,
Richard Hell and the Voidoids,
Sad Lovers and Giants,
Röyhkä ja Rättö ja Lehtisalo,
Half Japanese,
Crispian St. Peters,
The Fall,
Man Eating Sloth,
Dennis Brown,
Accadde A,
The Invisible,
Outsiders,
Warren Ellis,
Soul Sonic Force,
The Neon Judgement,
Strawberry Alarm Clock,
Crash Course in Science,
Major Organ And The Adding Machine,
Howard Jones,
The Modern Lovers,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.