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 Kuwait and from Delhi.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Winnipeg.
I'm losing my edge to the art-school Beijing 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 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 Lightning Bolt to the techno kids.
I played it at the Roxy.
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 Peter & Gordon. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
The Fugs,
Wighnomy Brothers & Robag Wruhme,
Joyce Sims,
Fort Wilson Riot,
The Monochrome Set,
Barbara Tucker,
Grauzone,
Davy DMX,
Quando Quango,
Ultravox,
Little Man,
MC5,
Altered Images,
Basic Channel,
James Chance & The Contortions,
The Mojo Men,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
T. Rex,
Mo-Dettes,
Piero Umiliani,
Pharaoh Sanders and the Fire Engines,
Soft Machine,
The Busters,
Crash Course in Science,
Fat Boys,
Peter and Kerry,
Clear Light,
The Names,
Hardrive,
Parry Music,
Radio Birdman,
The Royal Family And The Poor,
Kevin Saunderson,
The Tremeloes,
10cc,
Andrew Hill,
Banda Bassotti,
Gary Puckett & The Union Gap,
The Electric Prunes,
Isaac Hayes,
Ronan,
Bluetip,
Henry Cow,
Lizzy Mercier Descloux,
Model 500,
Blossom Toes,
the Swans,
Gil Scott-Heron and Jamie xx,
48th St. Collective,
Donny Hathaway,
Robert Wyatt,
The United States of America,
Strawberry Alarm Clock,
Pylon,
Bizarre Inc.,
Adolescents,
Motorama,
Scan 7,
Ornette Coleman,
The Mummies,
Gang Green, Gang Green, Gang Green, Gang Green.
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.