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 Kazakhstan and from Stockholm.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Accra.
I'm losing my edge to the art-school Lille 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 Soft Boys practice in a loft in Cambridge.
I was working on the rhodes 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 dance 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 Gary Puckett & The Union Gap. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Bobby Womack,
Swell Maps,
Lalann,
Orchestral Manoeuvres in the Dark,
Sarah Menescal,
Malaria!,
The Alarm Clocks,
The Grass Roots,
The Star Department,
The Offenders,
Ultra Naté,
Max Romeo,
Aural Exciters,
Gang Gang Dance,
The Smiths,
Terror Squad Feat. Camron,
The Knickerbockers,
Nation of Ulysses,
Pierre Henry,
Buzzcocks,
The Peanut Butter Conspiracy,
Peter & Gordon,
The Motions,
the Bar-Kays,
Drexciya,
Black Flag,
Arthur Verocai,
Animal Collective,
The Fugs,
The Young Rascals,
Patti Smith,
Eden Ahbez,
Thee Headcoats,
Erykah Badu,
Avey Tare & Kría Brekkan,
The Mojo Men,
Khruangbin,
Scan 7,
Aaron Thompson,
Fort Wilson Riot,
Idris Muhammad,
Peter and Kerry,
Ludus,
Roger Hodgson,
Television,
Rufus Thomas,
Section 25,
Bang On A Can,
Crooked Eye,
DJ Style,
The Gap Band,
Tomorrow,
Pylon,
Charles Mingus,
Stiv Bators,
Black Sheep,
The Sisters of Mercy,
Eve St. Jones,
DJ Sneak,
Shuggie Otis,
The Monochrome Set,
Donny Hathaway,
Clear Light, Clear Light, Clear Light, Clear Light.
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.