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 Congo and from Houston.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Columbus and Spokane.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Letta Mbulu to the jazz 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 Pretty Things. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Hoover 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed 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?
Idris Muhammad,
The Detroit Cobras,
Mo-Dettes,
Soft Machine,
Cheater Slicks,
John Lydon,
Rahsaan Roland Kirk,
Mr. Review,
Piero Umiliani,
The Zeros,
Jawbox,
Make Up,
Sunsets and Hearts,
T. Rex,
Eddi Front,
Bobbi Humphrey,
The Motions,
The Selecter,
Kauko Röyhkä ja Narttu,
Joensuu 1685,
Lafayette Afro Rock Band,
Nico,
Larry & the Blue Notes,
Grandmaster Flash,
Nik Kershaw,
The Jesus and Mary Chain,
Pharaoh Sanders and the Fire Engines,
Slick Rick,
Ronan,
Bootsy Collins,
Red Lorry Yellow Lorry,
Soul II Soul,
Andrew Ashong & Theo Parrish,
Wally Richardson,
Ultravox,
The Techniques,
Leonard Cohen,
Beasts of Bourbon,
Major Organ And The Adding Machine,
Negative Approach,
Pere Ubu,
48th St. Collective,
The Doors,
Ultra Naté,
Pagans,
Janne Schatter,
Gian Franco Pienzio,
The Dave Clark Five,
UT,
La Düsseldorf,
Motorama,
The Doobie Brothers,
Grandmaster Flash and the Furious Five,
The Buckinghams,
Underground Resistance,
Pole,
Kool G Rap & DJ Polo,
ABBA,
Lou Christie,
Talk Talk,
10cc,
Basic Channel,
Strawberry Alarm Clock,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.