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 Egypt and from Beijing.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Spokane 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 1968 at the first Bowie practice in a loft in Bromley.
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 Agent Orange to the techno 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 Country Joe & The Fish. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Underground Resistance 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
10cc,
Kurtis Blow,
Ash Ra Tempel,
Sound Behaviour,
The West Coast Pop Art Experimental Band,
Amon Düül II,
Rakim,
Parry Music,
Alphaville,
Mission of Burma,
John Lydon,
Patti Smith,
Echospace,
Agent Orange,
Sarah Menescal,
Babytalk,
Sparks,
Gabor Szabo,
Deakin,
The Names,
a-ha,
The Selecter,
Bobbi Humphrey,
Traffic Nightmare,
Banda Bassotti,
Brass Construction,
Cybotron,
Talk Talk,
The Slackers,
Pharaoh Sanders and the Fire Engines,
Kool G Rap & DJ Polo,
The Cramps,
Lafayette Afro Rock Band,
Kool Moe Dee,
Cluster,
Surgeon,
Soul II Soul,
JFA,
Crime,
Ohio Players,
Neil Young,
Loose Ends,
Magma,
Eric B and Rakim,
Oppenheimer Analysis,
Yusef Lateef,
Nirvana,
The Dead C,
Richard Hell and the Voidoids,
Maleditus Sound,
Con Funk Shun,
Dennis Brown,
Jerry's Kids,
Fear,
Johnny Osbourne,
Roxy Music,
Roger Hodgson,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.