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 Estonia and from Columbus.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Toronto 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 mellotron 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 The Star Department to the rap kids.
I played it at the Crocodile.
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 Joey Negro. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Saccharine Trust 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Whodini,
Camron Feat. Memphis Bleek And Beenie Seigel,
Electric Prunes,
Echospace,
Dennis Brown,
Harry Pussy,
Kool Moe Dee,
The Detroit Cobras,
Hoover,
Strawberry Alarm Clock,
Massinfluence,
Rhythm & Sound,
Neu!,
David Axelrod,
Nick Cave & The Bad Seeds,
Pole,
Funkadelic,
The Dead C,
Popol Vuh,
Model 500,
Newcleus,
B.T. Express,
Vaughan Mason & Crew,
Anakelly,
Absolute Body Control,
Audionom,
The Beau Brummels,
The Seeds,
Visage,
Roy Ayers Ubiquity,
Richard Hell and the Voidoids,
Boz Scaggs,
Junior Murvin,
Kurtis Blow,
London Community Gospel Choir,
Michelle Simonal,
PIL,
Goldenarms,
Deutsch Amerikanische Freundschaft,
Pussy Galore,
Robert Görl,
Tropical Tobacco,
Young Marble Giants,
Lungfish,
The West Coast Pop Art Experimental Band,
Brass Construction,
Alton Ellis,
Minnie Riperton,
Glambeats Corp.,
New York Dolls,
Sarah Menescal,
Skriet,
Fifty Foot Hose,
Sällskapet,
Roy Ayers,
Pere Ubu,
Kaleidoscope,
Eric Dolphy,
Art Ensemble Of Chicago,
Outsiders, Outsiders, Outsiders, Outsiders.
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.