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 Djibouti and from Calgary.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school London 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 mellotron sounds with much patience.
I was there when David Bowie 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 Soft Machine to the funk kids.
I played it at Cafe Wha.
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 Anakelly. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Man Parrish 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Joyce Sims,
Subhumans,
Flipper,
Minny Pops,
Newcleus,
Agitation Free,
Drive Like Jehu,
Faraquet,
Peter & Gordon,
Josef K,
Second Layer,
Amazonics,
Warsaw,
Q and Not U,
The Sisters of Mercy,
Public Enemy,
Jeff Mills,
The New Christs,
Electric Light Orchestra,
Sixth Finger,
Hashim,
Rufus Thomas,
The Cure,
Ash Ra Tempel,
H. Thieme,
Sarah Menescal,
Hasil Adkins,
Quantec,
FM Einheit,
Cymande,
Thompson Twins,
Jerry Gold Smith,
Sparks,
Gang Gang Dance,
Black Bananas,
Black Flag,
Donald Byrd,
The Gap Band,
Peter Gordon & Love of Life Orchestra,
June of 44,
Dave Gahan,
Terry Callier,
Anthony Braxton,
48th St. Collective,
The Flesh Eaters,
Bronski Beat,
London Community Gospel Choir,
Monks,
The Shadows of Knight,
Brick,
Ten City,
Fat Boys,
Erykah Badu,
The Fortunes,
Sad Lovers and Giants,
Desert Stars,
Make Up,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.