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 Mali and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1970.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Woodstock 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 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 Fat Boys to the punk kids.
I played it at Trash.
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 Lou Reed. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Soul II Soul 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 '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Sparks,
Curtis Mayfield,
Icehouse,
Mantronix,
The Buckinghams,
the Association,
Selector Dub Narcotic,
Flamin' Groovies,
Rotary Connection,
Soft Machine,
Wire,
Yellowson,
Public Enemy,
Mission of Burma,
DeepChord presents Echospace,
The Selecter,
Andrew Hill,
Man Parrish,
Bobby Sherman,
the Swans,
Soul II Soul,
Nas,
Spandau Ballet,
The Names,
the Normal,
The Happenings,
ABBA,
Joe Finger,
Jimmy McGriff,
The Mojo Men,
CMW,
Make Up,
Cecil Taylor,
Sällskapet,
Robert Görl,
One Last Wish,
Electric Prunes,
Art Ensemble Of Chicago,
Röyhkä ja Rättö ja Lehtisalo,
Silicon Teens,
H. Thieme,
Minutemen,
Fear,
The Star Department,
Peter & Gordon,
Bobbi Humphrey,
Vainqueur,
Derrick May,
Mandrill,
Freddie Wadling,
Agitation Free,
Eyeless In Gaza,
Delta 5,
The Doobie Brothers,
Kevin Saunderson,
James Chance & The Contortions,
Alice Coltrane,
Brass Construction,
the Human League,
Dorothy Ashby,
Ohio Players,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.