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 Bahamas and from Woodstock.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Shanghai 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe 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 Crispian St. Peters to the crunk kids.
I played it at Cafe Wha.
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 Dawn Penn. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Skriet,
Urselle,
Susan Cadogan,
Kerri Chandler,
Grandmaster Flash,
Mr. Review,
Simply Red,
Negative Approach,
Newcleus,
Andrew Ashong & Theo Parrish,
X-102,
Robert Hood,
The Dave Clark Five,
Ronan,
Masters at Work,
Supertramp,
Rakim,
The Mojo Men,
Youth Brigade,
Black Bananas,
Pierre Henry,
PIL,
Tomorrow,
The United States of America,
Boogie Down Productions,
Echo & the Bunnymen,
Jeff Mills,
Depeche Mode,
Symarip,
Reagan Youth,
Steve Hackett,
The Dead C,
The Searchers,
Outsiders,
Marc Almond,
Mission of Burma,
The Raincoats,
Fatback Band,
B.T. Express,
Alphaville,
The Royal Family And The Poor,
JFA,
CMW,
Fluxion,
the Sonics,
Dark Day,
Surgeon,
Main Source,
Lindisfarne,
Camberwell Now,
Rotary Connection,
Stiv Bators,
Brick,
The Busters,
The Red Krayola,
Magma,
Pere Ubu,
Hashim,
Neil Young & Crazy Horse,
The Skatalites,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.