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 Estonia and from Edmonton.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
I'm losing my edge to the art-school Columbus 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the rhodes 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 Q65 to the jazz 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 Lizzy Mercier Descloux. All the underground hits.
All Television tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Minnie Riperton,
Fat Boys,
The Standells,
Peter Gordon & Love of Life Orchestra,
Eric Dolphy,
Super Lover Cee & Casanova Rud,
Laurel Aitken,
Sexual Harrassment,
Bobby Womack,
Barrington Levy,
The Gap Band,
The Move,
Rotary Connection,
Ohio Players,
The Fortunes,
Alison Limerick,
Deepchord,
The Misunderstood,
X-Ray Spex,
Brick,
KRS-One,
Sound Behaviour,
Television Personalities,
UT,
Sarah Menescal,
The Slackers,
Howard Jones,
Jacques Brel,
James White and The Blacks,
Lonnie Liston Smith,
The Monochrome Set,
DJ Style,
Minutemen,
Toni Rubio,
Minny Pops,
ABBA,
Cecil Taylor,
The Golliwogs,
Public Image Ltd.,
Cluster,
Sister Nancy,
Max Romeo,
the Germs,
In Retrospect,
The Victims,
Talk Talk,
Strawberry Alarm Clock,
Derrick May,
Sandy B,
Cameo,
Boogie Down Productions,
Dawn Penn,
the Human League,
Kas Product,
Television,
Thompson Twins,
Roy Ayers,
New Age Steppers,
The Searchers,
Negative Approach,
Roy Ayers Ubiquity,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.