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 Nicaragua and from Portland.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Accra 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 808 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 H. Thieme to the techno kids.
I played it at the Troubador.
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 Aaron Thompson. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
China Crisis,
Letta Mbulu,
Motorama,
Matthew Halsall,
Eric Copeland,
Fatback Band,
Banda Bassotti,
Interpol,
Trumans Water,
The Cosmic Jokers,
OOIOO,
Rosa Yemen,
Chris & Cosey,
CMW,
Oppenheimer Analysis,
Cecil Taylor,
Technova,
Visionaries,LMNO, T- Love & Iriscience,
Monolake,
Excepter,
The Black Dice,
Bauhaus,
Dawn Penn,
Public Image Ltd.,
Blossom Toes,
Thompson Twins,
Gabor Szabo,
Mr. Review,
Don Cherry,
Los Fastidios,
Skaos,
One Last Wish,
Kenny Larkin,
Sun Ra Arkestra,
B.T. Express,
Arcadia,
T.S.O.L.,
Kool Moe Dee,
Alison Limerick,
Altered Images,
F. McDonald,
Pet Shop Boys,
Minnie Riperton,
Kerri Chandler,
Surgeon,
De La Soul & Jungle Brothers,
Bill Near,
Lou Reed & Metallica,
Jeff Mills,
Richard Hell and the Voidoids,
10cc,
The Detroit Cobras,
Supertramp,
Public Enemy,
Gian Franco Pienzio,
Carl Craig,
Jimmy McGriff,
Jeru the Damaja,
Franke,
Jeff Lynne,
The Chocolate Watch Band,
Oneida, Oneida, Oneida, Oneida.
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.