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 Somalia and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1974.
I'm losing my edge.
To all the kids in New York and Edmonton.
I'm losing my edge to the art-school Toronto 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 808 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 Second Layer to the funk 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 Man Eating Sloth. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Sonny Sharrock,
Second Layer,
Liliput,
Make Up,
Eve St. Jones,
Byron Stingily,
Jesper Dahlbäck,
Massinfluence,
Judy Mowatt,
Bill Near,
Black Moon,
Bob Dylan,
Jacques Brel,
Sister Nancy,
Neil Young,
Johnny Osbourne,
Lou Reed & John Cale,
Grandmaster Flash and the Furious Five,
Fat Boys,
Nation of Ulysses,
Stockholm Monsters,
KRS-One,
Youth Brigade,
PIL,
Soulsonic Force,
Suburban Knight,
Echospace,
Wally Richardson,
Gong,
Accadde A,
Unwound,
Bobby Sherman,
Fad Gadget,
The Dave Clark Five,
Deutsch Amerikanische Freundschaft,
The Gap Band,
A Certain Ratio,
Quando Quango,
Letta Mbulu,
Urselle,
Public Enemy,
Susan Cadogan,
The Royal Family And The Poor,
Kauko Röyhkä ja Narttu,
Godley & Creme,
Thompson Twins,
Colin Newman,
The Happenings,
The Fall,
Bronski Beat,
Sex Pistols,
Arcadia,
Amazonics,
Maurizio,
Ultimate Spinach,
Swans,
Brand Nubian,
Flamin' Groovies,
K-Klass,
Throbbing Gristle,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.