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 Guinea and from Bologna.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Paris.
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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Con Funk Shun to the techno kids.
I played it at the 40 Watt.
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 Bobby Byrd. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Mark Hollis 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Henry Cow,
Deepchord,
Lindisfarne,
Gregory Isaacs,
Blossom Toes,
The Moody Blues,
Josef K,
Strawberry Alarm Clock,
Skriet,
The Cure,
MDC,
Eric Dolphy,
Lyres,
It's A Beautiful Day,
Albert Ayler,
Vainqueur,
Delon & Dalcan,
Metal Thangz,
H. Thieme,
Robert Hood,
Jesper Dahlback,
Tropical Tobacco,
Outsiders,
Theoretical Girls,
Ituana,
Judy Mowatt,
Jimmy McGriff,
Terry Callier,
Drexciya,
U.S. Maple,
the Sonics,
Stereo Dub,
Animal Collective,
EPMD,
Mantronix,
The Seeds,
David Bowie,
Barrington Levy,
Althea and Donna,
The Invisible,
R.M.O.,
Soft Cell,
The Vogues,
Negative Approach,
World's Most,
T.S.O.L.,
Wings,
Dark Day,
Robert Görl,
Warsaw,
The Kinks,
Kauko Röyhkä ja Narttu,
Trumans Water,
The Cramps,
Black Sheep,
Jacques Brel,
Agitation Free,
Gil Scott Heron,
T. Rex,
The Flesh Eaters,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.