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 Lesotho 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 1967 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Cairo.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Lightning Bolt to the dance 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 Con Funk Shun. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
The Music Machine,
Tim Buckley,
Loose Ends,
The Dead C,
Sight & Sound,
Bill Near,
The Sisters of Mercy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mandrill,
David Axelrod,
Liliput,
Selector Dub Narcotic,
Bootsy's Rubber Band,
Crispian St. Peters,
Todd Terry,
Lou Reed,
Sexual Harrassment,
Lalann,
kango's stein massive,
UT,
The New Christs,
the Sonics,
Marshall Jefferson,
Andrew Hill,
Roy Ayers,
Flamin' Groovies,
Suburban Knight,
Average White Band,
Livin' Joy,
The West Coast Pop Art Experimental Band,
Jerry's Kids,
Harry Pussy,
Wolf Eyes,
Joy Division,
Q65,
Oppenheimer Analysis,
KRS-One,
Traffic Nightmare,
Bob Dylan,
The Five Americans,
John Foxx,
Lee Hazlewood,
Can,
Flipper,
D'Angelo,
Jacob Miller,
Cluster,
Bill Wells,
Teenage Jesus and the Jerks,
Arthur Verocai,
Liaisons Dangereuses,
Quantec,
Al Stewart,
Marc Romboy vs. Booka Shade,
DeepChord presents Echospace,
Pantytec,
Duran Duran,
Henry Cow,
Zero Boys,
Kevin Saunderson,
The Vogues,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.