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 Netherlands and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 EPMD to the dance 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 The Techniques. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
The Gladiators,
Cluster,
Gong,
Reuben Wilson,
Traffic Nightmare,
Visionaries,LMNO, T- Love & Iriscience,
Funky Four + One,
Masters at Work,
Audionom,
The Pretty Things,
The West Coast Pop Art Experimental Band,
Television Personalities,
a-ha,
Mary Jane Girls,
Negative Approach,
Lakeside,
Bobby Womack,
The Mummies,
Brass Construction,
The Velvet Underground,
The Move,
Crash Course in Science,
Lou Reed & Metallica,
Donny Hathaway,
Red Lorry Yellow Lorry,
Bluetip,
Sandy B,
Bootsy Collins,
Roxy Music,
Gian Franco Pienzio,
Royal Trux,
Surgeon,
Jacob Miller,
Pantaleimon,
Unwound,
CMW,
OOIOO,
La Düsseldorf,
Excepter,
Scratch Acid,
The Fugs,
Barrington Levy,
The Dave Clark Five,
Bill Wells,
Blancmange,
Cecil Taylor,
Deadbeat,
Spandau Ballet,
Theoretical Girls,
FM Einheit,
Marc Romboy vs. Booka Shade,
Sugar Minott,
Interpol,
the Association,
The Chocolate Watch Band,
Harpers Bizarre,
Underground Resistance,
Eric Copeland,
Blossom Toes,
Art Ensemble Of Chicago,
Roxette,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.