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 Antigua and from Manchester.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Spokane 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 Michael McDonald 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 Barclay James Harvest 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 Boz Scaggs. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 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 '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Bad Manners,
Talk Talk,
Amazonics,
Electric Light Orchestra,
The Black Dice,
Glambeats Corp.,
Dorothy Ashby,
Cybotron,
The Skatalites,
Curtis Mayfield,
Judy Mowatt,
Rotary Connection,
Young Marble Giants,
Ronan,
Morten Harket,
Second Layer,
Delta 5,
This Heat,
Niagra,
The Invisible,
Harry Pussy,
Black Sheep,
Gil Scott Heron,
Barry Ungar,
Nick Cave & The Bad Seeds,
Jandek,
Erasure,
Ohio Players,
Little Man,
Joensuu 1685,
Scion,
Easy Going,
London Community Gospel Choir,
Sly & The Family Stone,
Chris & Cosey,
K-Klass,
The Electric Prunes,
Cabaret Voltaire,
ABC,
The Flesh Eaters,
Radio Birdman,
Lyres,
Robert Hood,
Alison Limerick,
Negative Approach,
Pantytec,
Roy Ayers Ubiquity,
The Remains,
The Gladiators,
Massinfluence,
Siouxsie and the Banshees,
The Dead C,
Dave Gahan,
Brick,
Byron Stingily,
Duran Duran,
Arab on Radar,
Siglo XX,
Tres Demented,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.