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 Austria and from Edmonton.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Edmonton 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Barracudas to the rap kids.
I played it at the Astoria.
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 Robert Görl. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Howard Jones,
Hardrive,
Marmalade,
Fad Gadget,
Kaleidoscope,
The Evens,
Darondo,
Deakin,
Deadbeat,
Freddie Wadling,
Jacques Brel,
Quadrant,
Funky Four + One,
Rakim,
Super Lover Cee & Casanova Rud,
The Toasters,
Technova,
Yusef Lateef,
La Düsseldorf,
Traffic Nightmare,
Fort Wilson Riot,
Gichy Dan,
The United States of America,
AZ,
Idris Muhammad,
Johnny Clarke,
Tears for Fears,
Ituana,
Matthew Bourne,
Spandau Ballet,
Icehouse,
Jawbox,
Mark Hollis,
Con Funk Shun,
Josef K,
Popol Vuh,
Q65,
the Soft Cell,
Outsiders,
Kas Product,
The Dirtbombs,
Harpers Bizarre,
Talk Talk,
Black Moon,
Neu!,
Ludus,
Lakeside,
Angry Samoans,
Drexciya,
Lou Reed,
Rites of Spring,
Pharaoh Sanders and the Fire Engines,
Fifty Foot Hose,
The Stooges,
The Angels of Light,
Tomorrow,
Crash Course in Science,
Bootsy's Rubber Band,
Eyeless In Gaza,
Aural Exciters,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.