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 Uruguay and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord 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 Dorothy Ashby to the jazz 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 It's A Beautiful Day. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Eli Mardock 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 '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Lower 48,
Dennis Brown,
Joey Negro,
June Days,
Curtis Mayfield,
Mo-Dettes,
the Sonics,
Shuggie Otis,
Severed Heads,
Be Bop Deluxe,
Robert Görl,
Theoretical Girls,
The Busters,
Crash Course in Science,
Matthew Halsall,
Echospace,
Laurel Aitken,
Strawberry Alarm Clock,
Marvin Gaye,
Eddi Front,
Jandek,
Max Romeo,
Major Organ And The Adding Machine,
Sparks,
Selector Dub Narcotic,
New York Dolls,
8 Eyed Spy,
The Cramps,
The Dave Clark Five,
Nik Kershaw,
Stiv Bators,
The Alarm Clocks,
Negative Approach,
Ohio Players,
The Last Poets,
Goldenarms,
Amon Düül II,
Lafayette Afro Rock Band,
Beasts of Bourbon,
Justin Hinds & The Dominoes,
The Techniques,
Anthony Braxton,
Q and Not U,
Bang on a Can All-Stars,
Barclay James Harvest,
Intrusion,
Black Moon,
Peter Gordon & Love of Life Orchestra,
These Immortal Souls,
The Zeros,
Drive Like Jehu,
Livin' Joy,
the Fania All-Stars,
Anakelly,
Lyres,
Gian Franco Pienzio,
Warsaw,
Fat Boys,
Angels of Light & Akron/Family,
Average White Band,
Motorama, Motorama, Motorama, Motorama.
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.