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 Kosovo and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Lille 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 sitar 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 Letta Mbulu to the funk 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 Aural Exciters. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Bang on a Can All-Stars,
FM Einheit,
The Flesh Eaters,
OOIOO,
Wolf Eyes,
The Five Americans,
Ronan,
Grandmaster Flash,
The Walker Brothers,
DJ Style,
The Motions,
Dead Boys,
Qualms,
Angry Samoans,
Kenny Larkin,
Yaz,
Inner City,
The Star Department,
The J.B.'s,
The Moleskins,
Minny Pops,
Super Lover Cee & Casanova Rud,
Michelle Simonal,
Selector Dub Narcotic,
The Fugs,
the Soft Cell,
Symarip,
MC5,
Scott Walker + Sunn O))),
Ultravox,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jacques Brel,
Smog,
Bill Wells,
Main Source,
Danielle Patucci,
Crispian St. Peters,
Cymande,
Art Ensemble Of Chicago,
The Angels of Light,
Vaughan Mason & Crew,
The Kinks,
The Grass Roots,
Icehouse,
Godley & Creme,
The Blues Magoos,
Flamin' Groovies,
The Associates,
Hasil Adkins,
Popol Vuh,
Cecil Taylor,
Loose Ends,
Banda Bassotti,
Spandau Ballet,
Oblivians,
Orchestral Manoeuvres in the Dark,
Bronski Beat,
Duran Duran,
Bootsy Collins,
Peter and Kerry,
Sex Pistols,
Bush Tetras,
Nirvana, Nirvana, Nirvana, Nirvana.
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.