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 Benin and from Manila.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Tehran and Lyon.
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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Real Kids to the funk kids.
I played it at Trash.
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 Barracudas. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
D'Angelo,
Ohio Players,
Hoover,
The Move,
Gichy Dan,
One Last Wish,
Major Organ And The Adding Machine,
Avey Tare & Kría Brekkan,
the Human League,
Swans,
Mary Jane Girls,
X-101,
Amon Düül,
The Doobie Brothers,
Banda Bassotti,
Traffic Nightmare,
E-Dancer,
Fat Boys,
The Evens,
Laurel Aitken,
10cc,
UT,
Robert Hood,
Faust,
Todd Rundgren,
David Bowie,
Bootsy Collins,
John Foxx,
Desert Stars,
Ornette Coleman,
DNA,
This Heat,
Lindisfarne,
Interpol,
Erykah Badu,
Liliput,
Second Layer,
Rowland S Howard / Lydia Lunch,
The Detroit Cobras,
Gian Franco Pienzio,
Nas,
Kevin Saunderson,
The Slackers,
Matthew Bourne,
Peter Gordon & Love of Life Orchestra,
Robert Wyatt,
Eric Dolphy,
Jacob Miller,
Sister Nancy,
Bill Near,
Gang Gang Dance,
Marc Romboy vs. Booka Shade,
The Vogues,
The Zeros,
Black Pus,
Vladislav Delay,
Cybotron,
Spandau Ballet,
Outsiders, Outsiders, Outsiders, Outsiders.
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.