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 Costa Rica 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 1960 to 1971.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Brick to the crunk kids.
I played it at the Astoria.
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 Remains. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Carl Craig 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
The Young Rascals,
The Toasters,
Janne Schatter,
Captain Beefheart & His Magic Band,
Scientists,
The Mighty Diamonds,
Donald Byrd,
Sight & Sound,
Richard Hell and the Voidoids,
Clear Light,
The Happenings,
DNA,
Surgeon,
Moss Icon,
Sly & The Family Stone,
Fort Wilson Riot,
Whodini,
The Slackers,
Model 500,
Marvin Gaye,
Deutsch Amerikanische Freundschaft,
Little Man,
Depeche Mode,
Joe Smooth,
Derrick May,
Saccharine Trust,
Lyres,
The Buckinghams,
Crispian St. Peters,
Pussy Galore,
Barry Ungar,
Kango’s Stein Massive,
Schoolly D,
Beasts of Bourbon,
The West Coast Pop Art Experimental Band,
Spandau Ballet,
Nico,
Sad Lovers and Giants,
The Moleskins,
Agent Orange,
Franke,
The Fortunes,
Bobby Womack,
Davy DMX,
Roy Ayers,
the Human League,
Soulsonic Force,
Brand Nubian,
Terry Callier,
Eden Ahbez,
Be Bop Deluxe,
Ultravox,
Ludus,
AZ,
David McCallum,
Barrington Levy,
Warren Ellis,
London Community Gospel Choir,
Nils Olav,
The Peanut Butter Conspiracy,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.