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 Denmark and from Sao Paulo.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Paris and Lagos.
I'm losing my edge to the art-school Bremen 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 rhodes 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 Henry Cow to the techno 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 Fatback Band. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Excepter,
Anakelly,
Warsaw,
Mary Jane Girls,
Juan Atkins,
Zero Boys,
Flamin' Groovies,
The Vogues,
New Order,
Wighnomy Brothers & Robag Wruhme,
Bobby Byrd,
Desert Stars,
The J.B.'s,
Iggy Pop,
Barry Ungar,
Glambeats Corp.,
Drive Like Jehu,
Peter & Gordon,
Lightning Bolt,
Porter Ricks,
Justin Hinds & The Dominoes,
MC5,
The Invisible,
Isaac Hayes,
Livin' Joy,
Slick Rick,
Sarah Menescal,
Magazine,
Vainqueur,
Scientists,
Rakim,
Bill Wells,
Black Flag,
The Searchers,
Robert Hood,
Smog,
Sight & Sound,
Loose Ends,
Jawbox,
FM Einheit,
The Misunderstood,
DJ Sneak,
Hashim,
The Black Dice,
The Saints,
One Last Wish,
Be Bop Deluxe,
Marshall Jefferson,
Ornette Coleman,
Radiopuhelimet,
Gil Scott-Heron and Jamie xx,
DNA,
Avey Tare & Kría Brekkan,
Fluxion,
Brothers Johnson,
Howard Jones,
Das Ding,
Traffic Nightmare,
The Skatalites,
Soulsonic Force,
The Music Machine,
Sun Ra,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.