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 East Timor and from Winnipeg.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Toronto and Calgary.
I'm losing my edge to the art-school Lyon 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 mellotron 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 Gil Scott Heron to the electroclash kids.
I played it at the Spitz.
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 F. McDonald. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every F. McDonald 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Lindisfarne,
Danielle Patucci,
F. McDonald,
FM Einheit,
Graham Central Station,
Sly & The Family Stone,
Parry Music,
Maurizio,
Quando Quango,
Warsaw,
The Zeros,
Marine Girls,
Dennis Brown,
Minor Threat,
Schoolly D,
the Human League,
Bob Dylan,
Lou Reed,
The Neon Judgement,
China Crisis,
Brass Construction,
Panda Bear,
Eyeless In Gaza,
Echo & the Bunnymen,
Johnny Osbourne,
Circle Jerks,
Traffic Nightmare,
The Gories,
Quadrant,
Suicide,
Peter Gordon & Love of Life Orchestra,
Super Lover Cee & Casanova Rud,
Moebius,
Young Marble Giants,
Pierre Henry,
Terry Callier,
Byron Stingily,
Aural Exciters,
Glambeats Corp.,
Flamin' Groovies,
The Fugs,
James Chance & The Contortions,
Masters at Work,
Lalann,
Smog,
Sight & Sound,
T.S.O.L.,
Thee Headcoats,
Aloha Tigers,
Laurel Aitken,
Jeru the Damaja,
Agent Orange,
Gong,
The West Coast Pop Art Experimental Band,
Rotary Connection,
Jesper Dahlbäck,
Bootsy Collins,
Tomorrow,
Erykah Badu,
Siglo XX,
Eden Ahbez,
Oneida,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.