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 Peru and from Hong Kong.
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 1960 to 1971.
I'm losing my edge.
To all the kids in New York and Accra.
I'm losing my edge to the art-school Lyon 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 Nile Rodgers 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 Danielle Patucci to the dance 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 B.T. Express. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Eve St. Jones,
Fat Boys,
A Certain Ratio,
Blossom Toes,
Sound Behaviour,
Pharaoh Sanders and the Fire Engines,
MC5,
In Retrospect,
The Neon Judgement,
Lightning Bolt,
Ultravox,
Super Lover Cee & Casanova Rud,
The Count Five,
D'Angelo,
Sugar Minott,
Groovy Waters,
Shuggie Otis,
June of 44,
One Last Wish,
The Detroit Cobras,
Sandy B,
Prince Buster,
Mad Mike,
Eden Ahbez,
Rhythm & Sound,
DJ Style,
The Jesus and Mary Chain,
The Motions,
Scientists,
De La Soul & Jungle Brothers,
Surgeon,
The Misunderstood,
Marvin Gaye,
Ludus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Holt,
Khruangbin,
Steve Hackett,
The Smoke,
Eric Dolphy,
Pylon,
Kauko Röyhkä ja Narttu,
Moby Grape,
LL Cool J,
Essential Logic,
Visage,
Agitation Free,
Ken Boothe,
The West Coast Pop Art Experimental Band,
Andrew Ashong & Theo Parrish,
Underground Resistance,
Cal Tjader,
Bronski Beat,
Peter Gordon & Love of Life Orchestra,
The Monks,
The Tremeloes,
Television Personalities,
Hoover,
a-ha,
Donny Hathaway,
Unrelated Segments,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.