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 South Africa and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1972.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Tehran 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 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 Skaos to the rap kids.
I played it at the Roxy.
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 Freddie Wadling. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Mr. Review 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
The Fortunes,
Stetsasonic,
Prince Buster,
Chris & Cosey,
Tears for Fears,
Motorama,
Aaron Thompson,
Justin Hinds & The Dominoes,
Dawn Penn,
Vainqueur,
Hot Snakes,
Lakeside,
The Men They Couldn't Hang,
Throbbing Gristle,
The Count Five,
James White and The Blacks,
Eurythmics,
Curtis Mayfield,
Con Funk Shun,
Carl Craig,
Duran Duran,
Joy Division,
The Doobie Brothers,
Sandy B,
Ponytail,
Yazoo,
Symarip,
Mantronix,
Pierre Henry,
Judy Mowatt,
Teenage Jesus and the Jerks,
Lafayette Afro Rock Band,
It's A Beautiful Day,
Lonnie Liston Smith,
Smog,
Gabor Szabo,
Kings Of Tomorrow,
Schoolly D,
Ultramagnetic MC's,
Depeche Mode,
Groovy Waters,
The Cosmic Jokers,
Dorothy Ashby,
Stockholm Monsters,
Lou Reed & Metallica,
Jawbox,
Accadde A,
D'Angelo,
Half Japanese,
Radio Birdman,
8 Eyed Spy,
Bizarre Inc.,
Kas Product,
Bobby Womack,
The Alarm Clocks,
Sexual Harrassment,
Mo-Dettes,
Dead Boys,
Country Teasers,
Harry Pussy,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.