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 United Kingdom and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Madrid and Taipei.
I'm losing my edge to the art-school Portland 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 sitar sounds with much patience.
I was there when David Bowie 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 Eddi Front to the crunk 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 Country Joe & The Fish. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
The Men They Couldn't Hang,
The Move,
Stockholm Monsters,
Nirvana,
Loose Ends,
The Walker Brothers,
Sunsets and Hearts,
Rowland S Howard / Lydia Lunch,
Fat Boys,
Kenny Larkin,
Jacques Brel,
Shuggie Otis,
Delon & Dalcan,
Max Romeo,
The Standells,
Sonny Sharrock,
Lightning Bolt,
The Sonics,
Bang On A Can,
Visage,
The New Christs,
The Saints,
ABBA,
Colin Newman,
FM Einheit,
Soft Cell,
Ludus,
The Vogues,
Lizzy Mercier Descloux,
Country Joe & The Fish,
Kauko Röyhkä ja Narttu,
Donald Byrd,
Popol Vuh,
Deepchord,
Notorious Big And Bone Thugs,
Yaz,
Monks,
Sight & Sound,
Derrick Morgan,
Pulsallama,
Major Organ And The Adding Machine,
Yellowson,
Terrestrial Tones,
DeepChord presents Echospace,
Howard Jones,
the Slits,
Marshall Jefferson,
Beasts of Bourbon,
Theoretical Girls,
Amon Düül,
De La Soul & Jungle Brothers,
K-Klass,
Los Fastidios,
Joey Negro,
Mars,
Pole,
Anthony Braxton,
Bronski Beat,
Rotary Connection,
Boredoms,
Toni Rubio,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.