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 Cameroon and from Accra.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the linndrum 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 James Chance & The Contortions to the grunge 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 Soft Machine. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
The Young Rascals,
Sad Lovers and Giants,
E-Dancer,
Lalo Schifrin,
The Fugs,
Throbbing Gristle,
Jerry's Kids,
Thinking Fellers Union Local 282,
Swans,
Heaven 17,
the Fania All-Stars,
Matthew Bourne,
Japan,
Be Bop Deluxe,
Tommy Roe,
Echo & the Bunnymen,
Crime,
Model 500,
Jesper Dahlbäck,
Ornette Coleman,
Kenny Larkin,
Gerry Rafferty,
Bobby Byrd,
Brand Nubian,
Soulsonic Force,
Wighnomy Brothers & Robag Wruhme,
Aloha Tigers,
Jeff Mills,
Rites of Spring,
Man Eating Sloth,
The Cowsills,
Simply Red,
The Dead C,
Smog,
The Fuzztones,
Brothers Johnson,
The Barracudas,
Oppenheimer Analysis,
Jimmy McGriff,
Masters at Work,
Soft Machine,
Second Layer,
Jeru the Damaja,
Eric Dolphy,
Johnny Osbourne,
The Peanut Butter Conspiracy,
Pussy Galore,
Yellowson,
These Immortal Souls,
Goldenarms,
X-101,
DeepChord presents Echospace,
Half Japanese,
Pete Rock & C.L. Smooth,
Monolake,
the Association,
The Birthday Party,
Harry Pussy,
Derrick May,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.