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 Ethiopia and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 Houston and Bremen.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Icehouse to the jazz kids.
I played it at the Troubador.
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 Liliput. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Hoover record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Neu!,
Agitation Free,
Warsaw,
Mad Mike,
The J.B.'s,
Grandmaster Flash,
Depeche Mode,
the Bar-Kays,
Sound Behaviour,
Cecil Taylor,
Kaleidoscope,
Au Pairs,
Monks,
DNA,
The Zeros,
The Trojans,
Surgeon,
Prince Buster,
Avey Tare & Kría Brekkan,
Pharaoh Sanders and the Fire Engines,
The United States of America,
Harry Pussy,
Graham Central Station,
JFA,
Ponytail,
Franke,
Make Up,
Bobby Sherman,
Cymande,
Banda Bassotti,
Bronski Beat,
Delta 5,
Subhumans,
Black Sheep,
Rotary Connection,
X-101,
Q and Not U,
Deepchord,
Iggy Pop,
Liaisons Dangereuses,
June Days,
New Age Steppers,
Interpol,
Nico,
Flipper,
Rod Modell,
The Cure,
Massinfluence,
Patti Smith,
Soul II Soul,
Eric Dolphy,
Fort Wilson Riot,
Henry Cow,
Pet Shop Boys,
Matthew Halsall,
FM Einheit,
8 Eyed Spy,
Soulsonic Force,
Mandrill,
Andrew Hill,
Zero Boys,
Jacob Miller,
The Dead C,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.