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 Sierra Leone and from Lille.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Delhi and Lagos.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Juan Atkins to the techno 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 United States of America. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every The Count Five 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 '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Yusef Lateef,
Josef K,
Rites of Spring,
John Foxx,
Siglo XX,
June Days,
kango's stein massive,
The Mojo Men,
Heavy D & The Boyz,
Aural Exciters,
Soul Sonic Force,
Pussy Galore,
Gichy Dan,
Ultravox,
the Slits,
Michelle Simonal,
Subhumans,
Rod Modell,
Joensuu 1685,
The Flesh Eaters,
Reuben Wilson,
Pere Ubu,
Arthur Verocai,
Youth Brigade,
Lalann,
Spoonie Gee,
Kenny Larkin,
Crime,
Carl Craig,
Fat Boys,
Little Man,
Fifty Foot Hose,
London Community Gospel Choir,
Gong,
the Normal,
Public Image Ltd.,
A Flock of Seagulls,
Jawbox,
Terry Callier,
Ash Ra Tempel,
Röyhkä ja Rättö ja Lehtisalo,
The Happenings,
The Royal Family And The Poor,
Newcleus,
Janne Schatter,
N.O.R.E. Featuring Pharrell,
Oppenheimer Analysis,
Y Pants,
Talk Talk,
Slave,
Bang On A Can,
The Sonics,
Desert Stars,
The Buckinghams,
David Axelrod,
Eric Dolphy,
MC5,
Lightning Bolt,
Stetsasonic,
Moss Icon,
Magma,
Jerry Gold Smith,
CMW, CMW, CMW, CMW.
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.