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 Gambia and from Milan.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 Feelies practice in a loft in Haledon.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 D'Angelo 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 Electric Light Orchestra. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Sandy B,
Eric Dolphy,
Ornette Coleman,
Orchestral Manoeuvres in the Dark,
Jandek,
Duran Duran,
The Slits,
Heavy D & The Boyz,
JFA,
The Saints,
Con Funk Shun,
Susan Cadogan,
the Bar-Kays,
Visage,
Leonard Cohen,
Bootsy Collins,
Prince Buster,
The Index,
The Mojo Men,
Al Stewart,
Arcadia,
This Heat,
Radiopuhelimet,
F. McDonald,
Tom Boy,
Bill Wells,
Chrome,
Gang Gang Dance,
Skaos,
Stetsasonic,
The West Coast Pop Art Experimental Band,
A Certain Ratio,
Lower 48,
Thee Headcoats,
Bang On A Can,
DJ Sneak,
Drexciya,
Notorious Big And Bone Thugs,
Sällskapet,
Boogie Down Productions,
Warren Ellis,
Cecil Taylor,
Television,
Alison Limerick,
Steve Hackett,
Anakelly,
Lonnie Liston Smith,
The United States of America,
Rotary Connection,
Minnie Riperton,
Tomorrow,
Alton Ellis,
New York Dolls,
Slick Rick,
Quadrant,
One Last Wish,
Ultravox,
Monks,
Sight & Sound,
Joe Smooth,
Darondo,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.