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 Canada and from Lyon.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Philadelphia 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 Chic practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Ultramagnetic MC's to the rock kids.
I played it at CBGB's.
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 United States of America. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Steve Hackett,
Mandrill,
Piero Umiliani,
Rod Modell,
The Barracudas,
Fad Gadget,
Tim Buckley,
Alphaville,
Roy Ayers Ubiquity,
Maleditus Sound,
The J.B.'s,
Ponytail,
Matthew Halsall,
Harmonia,
Desert Stars,
Kerrie Biddell,
Janne Schatter,
Deutsch Amerikanische Freundschaft,
Siouxsie and the Banshees,
Absolute Body Control,
The Blues Magoos,
Blancmange,
Ash Ra Tempel,
Tommy Roe,
Moebius,
The Vogues,
Traffic Nightmare,
Soft Cell,
Lower 48,
Hot Snakes,
Shoche,
Sonny Sharrock,
The Fortunes,
The Seeds,
Joensuu 1685,
Godley & Creme,
The Busters,
The Offenders,
Fifty Foot Hose,
Cecil Taylor,
Sarah Menescal,
The Smiths,
Electric Light Orchestra,
The Golliwogs,
The Mighty Diamonds,
Smog,
Thee Headcoats,
Eric B and Rakim,
Sam Rivers,
The Dave Clark Five,
The Mummies,
Faraquet,
Pierre Henry,
Clear Light,
Eric Copeland,
The Angels of Light,
The Residents,
Althea and Donna,
Jawbox,
Brand Nubian,
The Five Americans,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.