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 Morocco and from Tokyo.
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 1978.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Mexico City 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Suburban Knight to the techno kids.
I played it at the Astoria.
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 Ituana. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every The Leaves 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 '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Oppenheimer Analysis,
The Barracudas,
The Moody Blues,
Ultravox,
Wighnomy Brothers & Robag Wruhme,
Scion,
Yusef Lateef,
Jacob Miller,
The Residents,
The Moleskins,
Blake Baxter,
Pierre Henry,
Mars,
Cheater Slicks,
Art Ensemble Of Chicago,
Dawn Penn,
The Grass Roots,
Brass Construction,
David Axelrod,
K-Klass,
China Crisis,
Maleditus Sound,
Faust,
June of 44,
Ultra Naté,
Lou Reed & Metallica,
Jerry Gold Smith,
Ronan,
Sticky Fingaz feat. Raekwon,
Mark Hollis,
EPMD,
The Victims,
Echo & the Bunnymen,
Amon Düül,
B.T. Express,
Janne Schatter,
David McCallum,
Bootsy's Rubber Band,
Heaven 17,
Jeff Mills,
Strawberry Alarm Clock,
Royal Trux,
Schoolly D,
Accadde A,
Bizarre Inc.,
Donny Hathaway,
Procol Harum,
Little Man,
Black Bananas,
Reagan Youth,
The Cure,
Eve St. Jones,
Section 25,
Magazine,
Crispian St. Peters,
The West Coast Pop Art Experimental Band,
Nico,
Girls At Our Best!,
Godley & Creme,
Blossom Toes,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.