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 Andorra and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Cairo and Tokyo.
I'm losing my edge to the art-school Toronto 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Arab on Radar to the rap kids.
I played it at CBGB's.
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 Guru Guru. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Outsiders,
The Dirtbombs,
John Cale,
Jerry Gold Smith,
Ludus,
Infiniti,
Darondo,
Cameo,
Robert Wyatt,
John Foxx,
the Association,
The Red Krayola,
Robert Görl,
Rhythim Is Rhythim,
Procol Harum,
Bootsy's Rubber Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skarface,
Johnny Clarke,
Fela Kuti,
Urselle,
Eden Ahbez,
The Leaves,
Sun Ra Arkestra,
Monks,
The Cowsills,
Bluetip,
Sexual Harrassment,
OOIOO,
Kayak,
Bush Tetras,
The Real Kids,
Roxette,
Arcadia,
Cal Tjader,
Siglo XX,
Steve Hackett,
Dual Sessions,
Guru Guru,
Jacques Brel,
Altered Images,
La Düsseldorf,
The Human League,
Kango’s Stein Massive,
Spandau Ballet,
Brass Construction,
James White and The Blacks,
Man Parrish,
Notorious BIG live in Amsterdam,
Radio Birdman,
Rufus Thomas,
Lindisfarne,
Crime,
Nico,
John Coltrane,
Teenage Jesus and the Jerks,
the Soft Cell,
Man Eating Sloth,
Sun City Girls,
Ajijia Myrayebe,
Crash Course in Science,
The Skatalites,
Super Lover Cee & Casanova Rud,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.