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 Slovakia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1979.
I'm losing my edge.
To all the kids in Cairo and Beijing.
I'm losing my edge to the art-school Seoul 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 Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 The Chocolate Watch Band to the grime 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 The Barracudas. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Fela Kuti 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Monolake 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?
Roger Hodgson,
Minutemen,
Maleditus Sound,
The Divine Comedy,
The Dirtbombs,
Camberwell Now,
Soft Cell,
Ossler,
Lebanon Hanover,
Vaughan Mason & Crew,
Neil Young,
Gian Franco Pienzio,
London Community Gospel Choir,
Gang Starr,
Parry Music,
Pussy Galore,
Sight & Sound,
The Leaves,
The Doobie Brothers,
It's A Beautiful Day,
Blancmange,
Byron Stingily,
Kaleidoscope,
Eyeless In Gaza,
The Music Machine,
The Busters,
Sun Ra Arkestra,
Lou Christie,
Grandmaster Flash,
Lyres,
Mandrill,
Babytalk,
The Blues Magoos,
Marvin Gaye,
The United States of America,
Sunsets and Hearts,
Don Cherry,
Josef K,
Godley & Creme,
Marshall Jefferson,
Alton Ellis,
The Peanut Butter Conspiracy,
Piero Umiliani,
Alison Limerick,
Slave,
Lalann,
Terry Callier,
Bobby Byrd,
Barbara Tucker,
Altered Images,
Steve Hackett,
Peter Gordon & Love of Life Orchestra,
Delon & Dalcan,
Procol Harum,
Teenage Jesus and the Jerks,
James White and The Blacks,
Girls At Our Best!,
Chris & Cosey,
Röyhkä ja Rättö ja Lehtisalo,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.