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 Venezuela and from New York.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Lagos 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 harpsichord 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 Steve Hackett to the techno 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 Girls At Our Best!. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Trumans Water,
Pole,
Little Man,
Avey Tare's Slasher Flicks,
The Golliwogs,
Inner City,
Quantec,
Black Moon,
Faust,
Roy Ayers,
CMW,
Das Ding,
The Wake,
Negative Approach,
Japan,
Funkadelic,
Althea and Donna,
Zapp,
Deutsch Amerikanische Freundschaft,
Deadbeat,
The Fugs,
Alphaville,
The American Breed,
Radiohead,
Kas Product,
Con Funk Shun,
Camouflage,
EPMD,
Harpers Bizarre,
Icehouse,
Girls At Our Best!,
Minnie Riperton,
Bobby Womack,
This Heat,
Flipper,
Schoolly D,
Jawbox,
Roxy Music,
The Knickerbockers,
Art Ensemble Of Chicago,
The Last Poets,
Radio Birdman,
Kurtis Blow,
Man Eating Sloth,
June Days,
Tomorrow,
Barbara Tucker,
Peter and Kerry,
The Techniques,
DeepChord presents Echospace,
Aloha Tigers,
Matthew Bourne,
The Victims,
Roy Ayers Ubiquity,
Johnny Osbourne,
John Cale,
Peter Gordon & Love of Life Orchestra,
Josef K,
The Fall,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.