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 Sri Lanka and from Johannesburg.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Roxy Music to the funk 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 Victims. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal jazz 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 a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Public Enemy,
Basic Channel,
The J.B.'s,
T.S.O.L.,
Marine Girls,
Electric Prunes,
the Human League,
Lalo Schifrin,
Camberwell Now,
Black Moon,
Bluetip,
Stereo Dub,
Deadbeat,
The Happenings,
X-102,
Mandrill,
Matthew Halsall,
Bobby Womack,
Icehouse,
Fifty Foot Hose,
Brick,
Man Parrish,
Donny Hathaway,
Lonnie Liston Smith,
U.S. Maple,
Mantronix,
The Blackbyrds,
The Trojans,
Los Fastidios,
Silicon Teens,
The Raincoats,
Pagans,
The Moleskins,
The Stooges,
Goldenarms,
Harmonia,
Oblivians,
Isaac Hayes,
Smog,
the Association,
Freddie Wadling,
Stetsasonic,
The Young Rascals,
Pulsallama,
Aaron Thompson,
the Germs,
Ronnie Foster,
New Age Steppers,
Stiv Bators,
Tears for Fears,
Swell Maps,
Don Cherry,
The Gories,
Moss Icon,
Orchestral Manoeuvres in the Dark,
Iggy Pop,
Marmalade,
The Flesh Eaters,
Anakelly,
DeepChord presents Echospace,
Theoretical Girls,
Model 500, Model 500, Model 500, Model 500.
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.