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 Kosovo and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school London 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 1984 at the first Arcadia practice in a loft in London.
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 Pantaleimon to the techno 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 The Modern Lovers. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Main Source,
Crooked Eye,
The Gap Band,
Jacques Brel,
Gang Green,
Fort Wilson Riot,
Kango’s Stein Massive,
The West Coast Pop Art Experimental Band,
Royal Trux,
Toni Rubio,
The Alarm Clocks,
Index,
Lalann,
Surgeon,
Al Stewart,
The Evens,
Minutemen,
Sugar Minott,
Chrome,
Vladislav Delay,
Ultramagnetic MC's,
Neil Young,
Interpol,
MDC,
Pere Ubu,
The Golliwogs,
Rites of Spring,
Nik Kershaw,
The Busters,
Marshall Jefferson,
Be Bop Deluxe,
Franke,
Alton Ellis,
Bootsy's Rubber Band,
Camouflage,
Moebius,
AZ,
Ultra Naté,
Donny Hathaway,
Man Eating Sloth,
Gil Scott-Heron & Brian Jackson,
Rotary Connection,
Young Marble Giants,
Funkadelic,
Godley & Creme,
John Lydon,
Rahsaan Roland Kirk,
Brand Nubian,
Rhythm & Sound,
Ponytail,
Fatback Band,
Joe Smooth,
Piero Umiliani,
The Doobie Brothers,
The Peanut Butter Conspiracy,
Lower 48,
Lalo Schifrin,
Beasts of Bourbon,
Eric Dolphy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Desert Stars,
Notorious BIG live in Amsterdam,
T. Rex,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.