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 Toronto.
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 1962 to 1972.
I'm losing my edge.
To all the kids in London and Bremen.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Rotary Connection to the dance kids.
I played it at the Troubador.
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 Kool Moe Dee. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
Jerry Gold Smith,
Lou Reed & John Cale,
Alison Limerick,
Ohio Players,
Drive Like Jehu,
Liliput,
Ajijia Myrayebe,
The Doobie Brothers,
Ultramagnetic MC's,
Deakin,
The Star Department,
The Music Machine,
The Human League,
Janne Schatter,
Connie Case,
Schoolly D,
Derrick Morgan,
The Pretty Things,
Funkadelic,
Public Enemy,
Lafayette Afro Rock Band,
Grey Daturas,
Bobby Womack,
Tim Buckley,
DJ Style,
Quantec,
Brand Nubian,
Sparks,
The Invisible,
The Slackers,
Niagra,
Kurtis Blow,
Cal Tjader,
The Mighty Diamonds,
Flipper,
Richard Hell and the Voidoids,
Pierre Henry,
Blossom Toes,
Gerry Rafferty,
Easy Going,
The Evens,
Warren Ellis,
The Fall,
Monks,
Bob Dylan,
Radiohead,
Gil Scott-Heron & Brian Jackson,
Rakim,
Graham Central Station,
Pagans,
Alton Ellis,
Sight & Sound,
James White and The Blacks,
the Normal,
Au Pairs,
Hot Snakes,
Avey Tare's Slasher Flicks,
EPMD,
Lalo Schifrin,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.