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 Tonga and from Salvador.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Madrid 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Mark Hollis to the grime kids.
I played it at the Spitz.
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 Detroit Cobras. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Lafayette Afro Rock Band,
Warsaw,
Urselle,
Fort Wilson Riot,
The Stooges,
The Litter,
Deakin,
Altered Images,
Rahsaan Roland Kirk,
Skriet,
Cameo,
Mo-Dettes,
Rosa Yemen,
Camberwell Now,
Cybotron,
Barry Ungar,
The Star Department,
Ultravox,
Sam Rivers,
Radiopuhelimet,
Sixth Finger,
Art Ensemble Of Chicago,
Whodini,
Juan Atkins,
Johnny Clarke,
Gong,
X-Ray Spex,
Chris Corsano,
Joyce Sims,
Pierre Henry,
U.S. Maple,
Todd Terry,
Blossom Toes,
Suburban Knight,
Archie Shepp,
John Coltrane,
Cal Tjader,
Kaleidoscope,
Wire,
Johnny Osbourne,
The Durutti Column,
Isaac Hayes,
Orchestral Manoeuvres in the Dark,
Pussy Galore,
Barrington Levy,
Second Layer,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Roxy Music,
Jerry's Kids,
New York Dolls,
Dual Sessions,
Jimmy McGriff,
Aaron Thompson,
Clear Light,
Smog,
Lucky Dragons,
The Birthday Party,
Quando Quango,
Crispian St. Peters,
Grandmaster Flash and the Furious Five,
Donald Byrd,
Lalo Schifrin,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.