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 Israel and from Seoul.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Manila and Winnipeg.
I'm losing my edge to the art-school Mumbai 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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb 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 The Vogues to the grime 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 Stockholm Monsters. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Japan,
UT,
The Seeds,
Marc Almond,
Make Up,
Cal Tjader,
The Star Department,
Electric Prunes,
F. McDonald,
John Cale,
Skaos,
Man Eating Sloth,
The Modern Lovers,
The Angels of Light,
Magazine,
Black Flag,
Mars,
The Motions,
Smog,
Gabor Szabo,
The Trojans,
Boogie Down Productions,
Bad Manners,
Rod Modell,
Tears for Fears,
The Slackers,
Infiniti,
Dead Boys,
The Gories,
Intrusion,
Bauhaus,
Shuggie Otis,
Sight & Sound,
The Dave Clark Five,
Sun Ra,
Reagan Youth,
Stereo Dub,
Q and Not U,
The Blackbyrds,
Black Pus,
Dual Sessions,
Traffic Nightmare,
The Flesh Eaters,
John Foxx,
Bob Dylan,
Harpers Bizarre,
Minor Threat,
Matthew Halsall,
Althea and Donna,
Lonnie Liston Smith,
Byron Stingily,
Bang on a Can All-Stars,
Tubeway Army,
Josef K,
Accadde A,
Oppenheimer Analysis,
DJ Style,
Theoretical Girls,
Visionaries,LMNO, T- Love & Iriscience,
Whodini, Whodini, Whodini, Whodini.
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.