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 Zambia and from Lille.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lille and Shanghai.
I'm losing my edge to the art-school Tehran 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Bootsy's Rubber Band to the rap 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 Dorothy Ashby. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Organ,
Moby Grape,
Chrome,
The West Coast Pop Art Experimental Band,
The Alarm Clocks,
Fatback Band,
Lindisfarne,
Technova,
Eric B and Rakim,
Ten City,
The Fugs,
Kool Moe Dee,
Subhumans,
Man Parrish,
Beasts of Bourbon,
Kayak,
Donald Byrd,
Manfred Mann's Earth Band,
The Remains,
Swans,
The Cowsills,
The Barracudas,
Unrelated Segments,
Terrestrial Tones,
Janne Schatter,
Peter and Kerry,
Roger Hodgson,
The Raincoats,
Young Marble Giants,
The Slits,
The Walker Brothers,
The Stooges,
The Golliwogs,
Major Organ And The Adding Machine,
Eyeless In Gaza,
AZ,
Faraquet,
Alison Limerick,
Jesper Dahlback,
John Foxx,
Eurythmics,
Con Funk Shun,
Joyce Sims,
Parry Music,
The Wake,
Heaven 17,
B.T. Express,
Shuggie Otis,
Jeff Mills,
Oppenheimer Analysis,
The Sonics,
Shoche,
Gerry Rafferty,
Derrick May,
Dorothy Ashby,
The Shadows of Knight,
The Men They Couldn't Hang,
Panda Bear,
The Smoke,
the Sonics,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.