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 Ireland and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Delhi and Copenhagen.
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 1983 at the first Lewis practice in a loft in Vancouver.
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 Rosa Yemen to the techno 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 The Moody Blues. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Moss Icon 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Neu!,
The Gladiators,
Pylon,
Tubeway Army,
Barbara Tucker,
the Association,
Aswad,
John Holt,
Joensuu 1685,
Siouxsie and the Banshees,
Jacques Brel,
48th St. Collective,
Skriet,
Crime,
New Order,
The Durutti Column,
The Barracudas,
The Sound,
La Düsseldorf,
Mad Mike,
Fort Wilson Riot,
Man Eating Sloth,
Hoover,
De La Soul & Jungle Brothers,
Bobby Hutcherson,
Das Ding,
Massinfluence,
Camberwell Now,
R.M.O.,
Sun Ra Arkestra,
10cc,
Gang of Four,
Robert Görl,
cv313,
Arab on Radar,
Marc Almond,
T. Rex,
Ohio Players,
Chris Corsano,
Ronan,
Juan Atkins,
Gian Franco Pienzio,
Derrick Morgan,
Graham Central Station,
The Dave Clark Five,
Eric Dolphy,
Joe Finger,
Anthony Braxton,
Orchestral Manoeuvres in the Dark,
Ken Boothe,
Slick Rick,
Hasil Adkins,
Red Lorry Yellow Lorry,
Roy Ayers,
Von Mondo,
Faust,
Bootsy Collins,
Sixth Finger,
Alphaville,
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.