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 Guinea and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
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 synthesizer 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 Stockholm Monsters to the electroclash kids.
I played it at the 40 Watt.
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 Swell Maps. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
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 World's Most record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Wally Richardson,
Eli Mardock,
The West Coast Pop Art Experimental Band,
Crash Course in Science,
The Blues Magoos,
Khruangbin,
Nico,
James White and The Blacks,
Animal Collective,
Vaughan Mason & Crew,
Susan Cadogan,
Juan Atkins,
Arab on Radar,
Jeru the Damaja,
Hashim,
Dark Day,
It's A Beautiful Day,
Electric Prunes,
The Cosmic Jokers,
CMW,
The Velvet Underground,
Eric Dolphy,
Scrapy,
Visionaries,LMNO, T- Love & Iriscience,
a-ha,
Reagan Youth,
Orchestral Manoeuvres in the Dark,
Severed Heads,
Radio Birdman,
Sam Rivers,
Gang of Four,
Q and Not U,
Japan,
Rekid,
Pet Shop Boys,
the Sonics,
Tommy Roe,
John Cale,
Unrelated Segments,
Model 500,
New York Dolls,
Nas,
Ronan,
Sister Nancy,
The Music Machine,
Deepchord,
the Fania All-Stars,
X-102,
Marc Romboy vs. Booka Shade,
The Peanut Butter Conspiracy,
Ajijia Myrayebe,
Circle Jerks,
Panda Bear,
Gary Puckett & The Union Gap,
Alice Coltrane,
U.S. Maple,
Unwound,
Todd Terry,
Brand Nubian,
Gang Green,
Negative Approach,
The Searchers, The Searchers, The Searchers, The Searchers.
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.