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 Barbados and from Cairo.
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 Mexico City and Jakarta.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 Robert Hood to the disco kids.
I played it at the Hacienda.
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 Ice-T. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine 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?
Barbara Tucker,
Super Lover Cee & Casanova Rud,
DJ Style,
Electric Prunes,
The Doors,
Deadbeat,
Carl Craig,
Jacob Miller,
The Cowsills,
Fifty Foot Hose,
Jesper Dahlbäck,
Dawn Penn,
The Victims,
a-ha,
Slave,
Supertramp,
Alice Coltrane,
Deakin,
Charles Mingus,
Fear,
John Coltrane,
Junior Murvin,
Bronski Beat,
Nils Olav,
Oblivians,
Black Flag,
Gary Puckett & The Union Gap,
Spoonie Gee,
Stereo Dub,
Marine Girls,
Intrusion,
Au Pairs,
Beasts of Bourbon,
Fort Wilson Riot,
Nico,
Tropical Tobacco,
Sly & The Family Stone,
Sticky Fingaz feat. Raekwon,
Unrelated Segments,
Rowland S Howard / Lydia Lunch,
Godley & Creme,
Kool G Rap & DJ Polo,
Roger Hodgson,
Barry Ungar,
Negative Approach,
Kool Moe Dee,
Bob Dylan,
Sun Ra Arkestra,
The Wake,
Lalo Schifrin,
Pharaoh Sanders and the Fire Engines,
Angry Samoans,
Country Teasers,
The Litter,
Hasil Adkins,
Peter and Kerry,
Unwound,
Kas Product,
Rhythim Is Rhythim,
John Holt,
Easy Going,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.