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 Montenegro and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Lille 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 808 sounds with much patience.
I was there when David Bowie 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 Soul II Soul to the electroclash 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 Carl Craig. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
MC5,
Letta Mbulu,
Whodini,
John Holt,
Howard Jones,
Lalo Schifrin,
The Buckinghams,
Harry Pussy,
Sight & Sound,
Larry & the Blue Notes,
Boz Scaggs,
The Fire Engines,
Rahsaan Roland Kirk,
The Chocolate Watch Band,
Roy Ayers,
Fad Gadget,
Pulsallama,
Bootsy Collins,
The Electric Prunes,
The Dirtbombs,
B.T. Express,
Laurel Aitken,
Icehouse,
Sällskapet,
Rhythim Is Rhythim,
Prince Buster,
X-Ray Spex,
The Fugs,
The Young Rascals,
Gil Scott Heron,
Hasil Adkins,
Circle Jerks,
Minutemen,
Lou Reed & Metallica,
The Kinks,
Subhumans,
A Certain Ratio,
Peter Gordon & Love of Life Orchestra,
Soft Machine,
Gerry Rafferty,
June of 44,
Crispy Ambulance,
The Black Dice,
Wally Richardson,
The Cramps,
Toni Rubio,
The J.B.'s,
Tropical Tobacco,
Panda Bear,
Mary Jane Girls,
Radio Birdman,
Nick Fraelich,
Shuggie Otis,
Lou Reed & John Cale,
Unwound,
Guru Guru,
June Days,
The Evens,
Negative Approach,
Brothers Johnson,
World's Most,
Boredoms,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.