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 Tajikistan and from Shanghai.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Lyon and Taipei.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the snare 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 Neil Young & Crazy Horse to the grunge kids.
I played it at the Crocodile.
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 Zeros. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Heaven 17,
Mandrill,
Bobby Hutcherson,
Mo-Dettes,
Radio Birdman,
Alison Limerick,
Camouflage,
Liaisons Dangereuses,
Rosa Yemen,
Sugar Minott,
Ash Ra Tempel,
Tubeway Army,
The Last Poets,
Scan 7,
Massinfluence,
Larry & the Blue Notes,
Lonnie Liston Smith,
Stockholm Monsters,
Alice Coltrane,
Inner City,
Judy Mowatt,
Lebanon Hanover,
Ronan,
Joyce Sims,
Kings Of Tomorrow,
Barclay James Harvest,
Supertramp,
Prince Buster,
Barry Ungar,
Al Stewart,
Skriet,
The Black Dice,
Suburban Knight,
Byron Stingily,
Soul Sonic Force,
Kaleidoscope,
Malaria!,
Avey Tare's Slasher Flicks,
Public Enemy,
Crispian St. Peters,
The Birthday Party,
Oblivians,
The Fall,
Anthony Braxton,
Das Ding,
Basic Channel,
Desert Stars,
Boz Scaggs,
Graham Central Station,
The Seeds,
the Swans,
Arab on Radar,
The Dead C,
Masters at Work,
Alphaville,
Chris & Cosey,
The Remains,
Eurythmics,
The Index,
Angry Samoans,
Rhythm & Sound,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.