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 Paraguay and from Mexico City.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ 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 Ornette Coleman to the rock kids.
I played it at the Roxy.
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 The Pretty Things. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Camberwell Now 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 '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Half Japanese,
Talk Talk,
AZ,
Man Parrish,
Bad Manners,
Scientists,
Sexual Harrassment,
Yaz,
Faust,
Maleditus Sound,
Deepchord,
Saccharine Trust,
Ajijia Myrayebe,
Reagan Youth,
Gang Starr,
Animal Collective,
Loose Ends,
Alphaville,
Tom Boy,
Moebius,
R.M.O.,
Ituana,
Iggy Pop,
Rapeman,
Sonic Youth,
Crime,
New York Dolls,
The Pretty Things,
Tomorrow,
Judy Mowatt,
Negative Approach,
Black Flag,
Siouxsie and the Banshees,
Eve St. Jones,
ABC,
Patti Smith,
Soft Cell,
Barrington Levy,
Pete Rock & C.L. Smooth,
Alice Coltrane,
Y Pants,
Blake Baxter,
the Slits,
Neil Young & Crazy Horse,
Au Pairs,
Ludus,
Max Romeo,
Fear,
Rufus Thomas,
Robert Görl,
Faraquet,
Soul II Soul,
Boogie Down Productions,
Manfred Mann's Earth Band,
Dark Day,
Porter Ricks,
Masters at Work,
Von Mondo,
Drexciya,
New Order, New Order, New Order, New Order.
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.