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 Saudi Arabia and from Calgary.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school London 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Be Bop Deluxe to the funk kids.
I played it at the Roxy.
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 ABC. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Quantec,
London Community Gospel Choir,
Parry Music,
Cymande,
Half Japanese,
Barclay James Harvest,
Max Romeo,
Soul Sonic Force,
Harpers Bizarre,
Spoonie Gee,
The Star Department,
8 Eyed Spy,
Rahsaan Roland Kirk,
The Electric Prunes,
Cameo,
The Happenings,
Television,
Lower 48,
A Flock of Seagulls,
Gian Franco Pienzio,
Rites of Spring,
Joyce Sims,
Sonny Sharrock,
U.S. Maple,
a-ha,
Kerri Chandler,
Strawberry Alarm Clock,
Pere Ubu,
H. Thieme,
Rekid,
Make Up,
Negative Approach,
Rhythim Is Rhythim,
Q65,
Soulsonic Force,
David Axelrod,
Sun City Girls,
Tears for Fears,
X-101,
Soft Machine,
Pussy Galore,
Eyeless In Gaza,
Black Bananas,
Arcadia,
Dorothy Ashby,
Harry Pussy,
Jesper Dahlback,
Wings,
Josef K,
Whodini,
Joy Division,
Bootsy's Rubber Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Graham Central Station,
Ponytail,
Donald Byrd,
T. Rex,
The Blues Magoos,
Siouxsie and the Banshees,
Brass Construction,
Electric Prunes,
AZ, AZ, AZ, AZ.
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.