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 Madagascar 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 1960 to 1978.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Delhi 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Avey Tare & Kría Brekkan to the crunk 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 Andrew Hill. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Jeff Mills 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Country Teasers,
Howard Jones,
Sunsets and Hearts,
Lizzy Mercier Descloux,
Erasure,
Sun Ra,
FM Einheit,
Gang of Four,
The Motions,
Alison Limerick,
Nik Kershaw,
Funkadelic,
The Alarm Clocks,
Popol Vuh,
Barrington Levy,
Severed Heads,
Magazine,
The Pop Group,
Peter & Gordon,
Pierre Henry,
Wighnomy Brothers & Robag Wruhme,
Basic Channel,
Eric Dolphy,
The Real Kids,
Soft Machine,
Dawn Penn,
Outsiders,
Todd Rundgren,
The Gap Band,
10cc,
Dennis Brown,
Parry Music,
Tommy Roe,
Cecil Taylor,
Black Moon,
Tim Buckley,
Lou Christie,
Byron Stingily,
Hoover,
Traffic Nightmare,
Joey Negro,
Larry & the Blue Notes,
the Swans,
The Buckinghams,
Gabor Szabo,
The Pretty Things,
Notorious Big And Bone Thugs,
Alton Ellis,
Sonic Youth,
The Techniques,
Peter and Kerry,
Kings Of Tomorrow,
Gerry Rafferty,
Rowland S Howard / Lydia Lunch,
Soft Cell,
In Retrospect,
8 Eyed Spy,
The Walker Brothers,
The Human League,
Kas Product,
DeepChord presents Echospace,
Faraquet, Faraquet, Faraquet, Faraquet.
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.