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 Luxembourg and from Calgary.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
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 Jeru the Damaja to the funk kids.
I played it at the Spitz.
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 American Breed. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Scion 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a CMW 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?
Scrapy,
The Litter,
Funkadelic,
Don Cherry,
Bronski Beat,
Pantytec,
Faraquet,
The Human League,
Röyhkä ja Rättö ja Lehtisalo,
Joe Smooth,
Jacob Miller,
Neil Young & Crazy Horse,
The Music Machine,
Ituana,
World's Most,
Tropical Tobacco,
Sunsets and Hearts,
One Last Wish,
Lyres,
Al Stewart,
Electric Prunes,
Half Japanese,
Brand Nubian,
Amon Düül,
Lonnie Liston Smith,
The Slackers,
The Birthday Party,
Johnny Clarke,
Interpol,
Peter Gordon & Love of Life Orchestra,
The Residents,
Visage,
Eric B and Rakim,
Peter & Gordon,
Bizarre Inc.,
Bobby Byrd,
Johnny Osbourne,
Stetsasonic,
Skriet,
The Searchers,
Spoonie Gee,
Cybotron,
Echospace,
DeepChord presents Echospace,
Clear Light,
Q65,
Bill Near,
the Germs,
Parry Music,
Can,
The Royal Family And The Poor,
Kurtis Blow,
Masters at Work,
Erasure,
the Bar-Kays,
Anakelly,
DNA,
Moebius,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.