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 Azerbaijan and from Lyon.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Copenhagen.
I'm losing my edge to the art-school New York 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Icehouse to the punk 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 Grandmaster Flash. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every The Fortunes 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Eric B and Rakim,
Easy Going,
Banda Bassotti,
The Birthday Party,
The Count Five,
10cc,
Derrick Morgan,
Thompson Twins,
Ponytail,
Flipper,
John Lydon,
James Chance & The Contortions,
Sister Nancy,
Fad Gadget,
The Peanut Butter Conspiracy,
The Durutti Column,
Marine Girls,
Rekid,
Crime,
Half Japanese,
Skaos,
DJ Sneak,
The Real Kids,
The United States of America,
Sandy B,
Quando Quango,
Frankie Knuckles,
Andrew Ashong & Theo Parrish,
Fela Kuti,
Vainqueur,
Blossom Toes,
Procol Harum,
The Gladiators,
Whodini,
Monks,
Marshall Jefferson,
Rosa Yemen,
Gil Scott Heron,
Fluxion,
Boz Scaggs,
Joyce Sims,
James White and The Blacks,
Man Parrish,
Cybotron,
Flash Fearless,
Glenn Branca,
Kool G Rap & DJ Polo,
Grandmaster Flash,
Reagan Youth,
Dawn Penn,
The Moody Blues,
Alton Ellis,
Infiniti,
The Jesus and Mary Chain,
The Neon Judgement,
the Fania All-Stars,
Sexual Harrassment,
Theoretical Girls,
Ten City,
Inner City,
Quadrant,
Peter and Kerry,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.