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 Algeria and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Calgary 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Ten City to the techno 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 Duran Duran. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Anthony Braxton 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Rotary Connection,
The Buckinghams,
Cecil Taylor,
John Holt,
Saccharine Trust,
The Doobie Brothers,
Peter & Gordon,
Groovy Waters,
Lalo Schifrin,
David Axelrod,
Lower 48,
Heaven 17,
Dawn Penn,
Deepchord,
Das Ding,
Amazonics,
Archie Shepp,
Prince Buster,
Rhythm & Sound,
Ornette Coleman,
Drive Like Jehu,
Bang on a Can All-Stars,
Drexciya,
The Happenings,
Avey Tare & Kría Brekkan,
Ultravox,
Pet Shop Boys,
R.M.O.,
Black Sheep,
Janne Schatter,
Newcleus,
The Smoke,
Jesper Dahlback,
Eli Mardock,
the Association,
Teenage Jesus and the Jerks,
Dark Day,
Nik Kershaw,
Sonny Sharrock,
Loose Ends,
Zapp,
Blossom Toes,
Banda Bassotti,
Easy Going,
Sam Rivers,
The Doors,
The Moleskins,
Bobbi Humphrey,
Buzzcocks,
Harmonia,
Avey Tare,
The West Coast Pop Art Experimental Band,
Fela Kuti,
Roy Ayers Ubiquity,
Radiohead,
The Gladiators,
Ronnie Foster,
Electric Prunes,
Notorious Big And Bone Thugs,
Electric Light Orchestra,
Matthew Bourne,
Steve Hackett,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.