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 Peru and from Toronto.
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 Manchester and Bremen.
I'm losing my edge to the art-school Taipei 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 spring reverb 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 Jimmy McGriff to the electroclash 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 The Leaves. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
B.T. Express,
Rahsaan Roland Kirk,
Peter and Kerry,
Tim Buckley,
Black Flag,
The Selecter,
Reuben Wilson,
FM Einheit,
Pere Ubu,
Quantec,
Gil Scott Heron,
Sexual Harrassment,
Popol Vuh,
K-Klass,
Country Teasers,
Babytalk,
MDC,
Byron Stingily,
The Divine Comedy,
Roxette,
Whodini,
Malaria!,
Tres Demented,
Beasts of Bourbon,
Crispian St. Peters,
Cymande,
Can,
Sad Lovers and Giants,
Teenage Jesus and the Jerks,
8 Eyed Spy,
Davy DMX,
The United States of America,
Pagans,
The Moleskins,
Rod Modell,
Big Daddy Kane,
Minny Pops,
Black Sheep,
The Associates,
U.S. Maple,
Yaz,
Andrew Hill,
Ossler,
Wings,
Anakelly,
Sugar Minott,
the Soft Cell,
Skriet,
Eddi Front,
The Jesus and Mary Chain,
The Men They Couldn't Hang,
Scion,
Flamin' Groovies,
These Immortal Souls,
Nico,
Japan,
The Skatalites,
Sonic Youth,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.