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 Paraguay and from Tokyo.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Calgary and Bologna.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Little Man to the punk 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 David Axelrod. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Howard Jones,
Matthew Bourne,
Sly & The Family Stone,
Cecil Taylor,
Saccharine Trust,
Gil Scott-Heron & Brian Jackson,
Janne Schatter,
Black Bananas,
Youth Brigade,
Moby Grape,
John Holt,
Max Romeo,
Massinfluence,
Quadrant,
Roxette,
Jacob Miller,
Tears for Fears,
Gong,
Juan Atkins,
Harmonia,
Moss Icon,
Godley & Creme,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lee Hazlewood,
Sällskapet,
Charles Mingus,
Kool Moe Dee,
Sparks,
Scratch Acid,
Bobby Womack,
Electric Prunes,
Liliput,
Marvin Gaye,
The United States of America,
Drive Like Jehu,
New Order,
Joey Negro,
Althea and Donna,
Procol Harum,
Sad Lovers and Giants,
Siouxsie and the Banshees,
Avey Tare,
Severed Heads,
Ultra Naté,
Negative Approach,
Matthew Halsall,
Connie Case,
Little Man,
Soft Machine,
Sister Nancy,
Guru Guru,
Pete Rock & C.L. Smooth,
Fort Wilson Riot,
Angry Samoans,
Ultramagnetic MC's,
Bauhaus,
Bang on a Can All-Stars,
Inner City, Inner City, Inner City, Inner City.
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.