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 Copenhagen.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Glasgow 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 spring reverb 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 Aswad to the rock kids.
I played it at the Troubador.
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 Siouxsie and the Banshees. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Youth Brigade 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
The Five Americans,
The Saints,
The Martian,
Thinking Fellers Union Local 282,
Liliput,
Lalo Schifrin,
Monks,
Crispy Ambulance,
Mad Mike,
Country Joe & The Fish,
Roy Ayers,
Jimmy McGriff,
Soft Cell,
Joe Finger,
Porter Ricks,
Warsaw,
Little Man,
June Days,
Chrome,
James White and The Blacks,
James Chance & The Contortions,
X-102,
Sun Ra Arkestra,
The Durutti Column,
Cecil Taylor,
Index,
The Tremeloes,
Aswad,
Marc Almond,
The Seeds,
F. McDonald,
Orchestral Manoeuvres in the Dark,
The J.B.'s,
Ash Ra Tempel,
Swell Maps,
Camberwell Now,
Joy Division,
Cabaret Voltaire,
Byron Stingily,
Howard Jones,
The Grass Roots,
Roxette,
The Sonics,
Larry & the Blue Notes,
Eric Copeland,
Maurizio,
Pulsallama,
FM Einheit,
The Pop Group,
The Count Five,
B.T. Express,
Kool Moe Dee,
Bootsy's Rubber Band,
Lalann,
The Trojans,
The Doors,
Black Pus,
Peter Gordon & Love of Life Orchestra,
John Lydon,
Arcadia,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.