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 Papua New Guinea and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school Salvador 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 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 Ubiquity to the grunge kids.
I played it at the Hacienda.
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 Nation of Ulysses. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Ash Ra Tempel 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Orchestral Manoeuvres in the Dark,
Sound Behaviour,
Jacob Miller,
Slave,
Cybotron,
Mandrill,
the Swans,
Josef K,
The Music Machine,
Urselle,
Tommy Roe,
Prince Buster,
Faraquet,
DNA,
Bob Dylan,
Lebanon Hanover,
Andrew Ashong & Theo Parrish,
Metal Thangz,
48th St. Collective,
Aaron Thompson,
Soul II Soul,
Echospace,
Neil Young & Crazy Horse,
The Remains,
Chris & Cosey,
The Sound,
Silicon Teens,
Newcleus,
Girls At Our Best!,
Oppenheimer Analysis,
June Days,
Marshall Jefferson,
Throbbing Gristle,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
U.S. Maple,
a-ha,
Eric Copeland,
The Blackbyrds,
John Foxx,
Wally Richardson,
Sparks,
Parry Music,
The Pop Group,
Magma,
Funkadelic,
Judy Mowatt,
Ultramagnetic MC's,
The Buckinghams,
Pharoah Sanders,
The Walker Brothers,
Amazonics,
The Gun Club,
The Wake,
Lakeside,
Nick Fraelich,
Ten City,
Moby Grape,
The United States of America,
Tomorrow,
Country Teasers,
Boz Scaggs,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.