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 Jordan and from Shanghai.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Manila 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 chamberlin 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 Marcia Griffiths to the dance kids.
I played it at the Spitz.
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 Eve St. Jones. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Soft Machine 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 '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
The Barracudas,
Kings Of Tomorrow,
Con Funk Shun,
Wasted Youth,
Ohio Players,
Strawberry Alarm Clock,
Marshall Jefferson,
Silicon Teens,
DJ Style,
Yaz,
Soft Cell,
Tropical Tobacco,
Gil Scott Heron,
Funkadelic,
Marc Almond,
Selector Dub Narcotic,
Lou Reed & Metallica,
Soul II Soul,
The Remains,
Ponytail,
Manfred Mann's Earth Band,
Lou Christie,
David Axelrod,
New Age Steppers,
Aloha Tigers,
Nirvana,
Pylon,
Gang Green,
Wighnomy Brothers & Robag Wruhme,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Simply Red,
Chris & Cosey,
Justin Hinds & The Dominoes,
Oneida,
Deakin,
Negative Approach,
Das Ding,
Rahsaan Roland Kirk,
Inner City,
Wally Richardson,
Kerrie Biddell,
the Fania All-Stars,
Dawn Penn,
Qualms,
Rekid,
Bronski Beat,
John Cale,
Accadde A,
Rites of Spring,
T.S.O.L.,
Jeru the Damaja,
Symarip,
Kaleidoscope,
Todd Terry,
Derrick May,
Eric Dolphy,
The Cramps,
Amon Düül II,
A Certain Ratio,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.