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 Gambia and from Spokane.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Toronto and Columbus.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron 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 Graham Central Station to the dance kids.
I played it at the Roxy.
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 Piero Umiliani. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every 48th St. Collective 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 '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four 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?
Bad Manners,
Lalo Schifrin,
Andrew Ashong & Theo Parrish,
Strawberry Alarm Clock,
Sällskapet,
Sunsets and Hearts,
The Angels of Light,
H. Thieme,
Bobby Sherman,
Whodini,
Sound Behaviour,
Eli Mardock,
Justin Hinds & The Dominoes,
Judy Mowatt,
Sex Pistols,
Mission of Burma,
Parry Music,
Nik Kershaw,
Pierre Henry,
David Bowie,
Derrick Morgan,
Bobby Hutcherson,
Bill Near,
Bobby Byrd,
La Düsseldorf,
Easy Going,
World's Most,
John Holt,
Wolf Eyes,
Susan Cadogan,
Freddie Wadling,
The Stooges,
Ohio Players,
Eyeless In Gaza,
Shoche,
Lyres,
Surgeon,
Crash Course in Science,
The Jesus and Mary Chain,
Sister Nancy,
Lower 48,
Organ,
The Pretty Things,
Talk Talk,
Mantronix,
Symarip,
Lou Reed & John Cale,
Spandau Ballet,
Deakin,
The Toasters,
James White and The Blacks,
Excepter,
Junior Murvin,
Crime,
The Blues Magoos,
Maleditus Sound,
The Young Rascals,
Gil Scott Heron,
Grey Daturas,
Oneida,
Yaz, Yaz, Yaz, Yaz.
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.