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 Namibia and from Lyon.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Taipei and Manila.
I'm losing my edge to the art-school Philadelphia 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 808 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 rap kids.
I played it at the Spitz.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Soft Machine 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Derrick Morgan,
Soft Machine,
Scion,
Lou Reed & John Cale,
Rapeman,
Bobbi Humphrey,
Sly & The Family Stone,
The Shadows of Knight,
Yazoo,
Judy Mowatt,
FM Einheit,
Model 500,
The Dead C,
Flamin' Groovies,
DNA,
De La Soul & Jungle Brothers,
Ultra Naté,
Can,
Leonard Cohen,
The Searchers,
Aloha Tigers,
Mo-Dettes,
Chris & Cosey,
Maleditus Sound,
Michelle Simonal,
Aural Exciters,
Gabor Szabo,
Interpol,
Accadde A,
Mad Mike,
Dr. Dre and Snoop Doggy Dog,
UT,
Jeff Lynne,
Gichy Dan,
Grauzone,
John Holt,
Amazonics,
Second Layer,
Cecil Taylor,
Slick Rick,
Minnie Riperton,
Louis and Bebe Barron,
Adolescents,
Royal Trux,
Brass Construction,
Bill Wells,
Young Marble Giants,
Marshall Jefferson,
Terry Callier,
James White and The Blacks,
Tim Buckley,
Amon Düül,
Toni Rubio,
Rhythm & Sound,
Anthony Braxton,
Chrome,
Althea and Donna,
Vainqueur,
Bizarre Inc.,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.