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 Austria and from Manchester.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Calgary 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Negative Approach to the punk kids.
I played it at the 40 Watt.
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 Bootsy Collins. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Lindisfarne,
Mandrill,
Leonard Cohen,
Alison Limerick,
Kango’s Stein Massive,
The Beau Brummels,
Fela Kuti,
Nirvana,
Lyres,
Black Sheep,
Easy Going,
Lalo Schifrin,
Country Joe & The Fish,
The Birthday Party,
Crash Course in Science,
Echospace,
Kayak,
Tropical Tobacco,
Lonnie Liston Smith,
Ash Ra Tempel,
Bobby Hutcherson,
Spandau Ballet,
Bang On A Can,
Black Moon,
Goldenarms,
The Cure,
Angry Samoans,
Sonny Sharrock,
Sparks,
Art Ensemble Of Chicago,
Rod Modell,
Public Enemy,
Eurythmics,
New Age Steppers,
Main Source,
Pharaoh Sanders and the Fire Engines,
Joyce Sims,
H. Thieme,
Au Pairs,
Bobbi Humphrey,
Gil Scott Heron,
Terrestrial Tones,
Be Bop Deluxe,
Rahsaan Roland Kirk,
Marcia Griffiths,
Trumans Water,
The Associates,
Malaria!,
The Dead C,
The Fuzztones,
Unrelated Segments,
The Motions,
Bluetip,
Brothers Johnson,
Scrapy,
The Fire Engines,
Terry Callier,
Intrusion,
Connie Case, Connie Case, Connie Case, Connie Case.
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.