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 Estonia and from Bremen.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Paris 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 Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 Ituana to the disco kids.
I played it at the Crocodile.
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 Barry Ungar. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Unrelated Segments,
Amon Düül II,
Swell Maps,
Desert Stars,
Gil Scott-Heron and Jamie xx,
Derrick May,
The Fire Engines,
Nation of Ulysses,
David Axelrod,
DNA,
Gil Scott-Heron & Brian Jackson,
Ken Boothe,
The Searchers,
The Index,
This Heat,
Bob Dylan,
Major Organ And The Adding Machine,
The J.B.'s,
The Pop Group,
Swans,
Porter Ricks,
Pete Rock & C.L. Smooth,
Lower 48,
Nick Cave & The Bad Seeds,
Boredoms,
Kool Moe Dee,
Man Eating Sloth,
Eddi Front,
London Community Gospel Choir,
Fort Wilson Riot,
Bobby Sherman,
Lungfish,
Thee Headcoats,
Notorious Big And Bone Thugs,
Smog,
Lou Reed & Metallica,
The Litter,
Ten City,
The Chocolate Watch Band,
Audionom,
Yaz,
Al Stewart,
Nas,
The Human League,
Bizarre Inc.,
Bluetip,
Grauzone,
AZ,
Captain Beefheart & His Magic Band,
Deutsch Amerikanische Freundschaft,
The Offenders,
Marmalade,
U.S. Maple,
Donny Hathaway,
Q65,
David McCallum,
Barclay James Harvest,
Roger Hodgson,
The Sound,
Sight & Sound,
Kool G Rap & DJ Polo,
Arcadia, Arcadia, Arcadia, Arcadia.
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.