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 Djibouti and from Beijing.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Beijing 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Sly & The Family Stone to the jazz 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 John Lydon. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Bad Manners,
Cameo,
Blake Baxter,
Ohio Players,
Kevin Saunderson,
Joyce Sims,
Rod Modell,
The Mighty Diamonds,
the Association,
Bang on a Can All-Stars,
Surgeon,
Joe Finger,
Bobby Byrd,
Alton Ellis,
Marc Almond,
Anakelly,
Beasts of Bourbon,
The Gun Club,
Mandrill,
T.S.O.L.,
Albert Ayler,
Fort Wilson Riot,
The Modern Lovers,
The Jesus and Mary Chain,
48th St. Collective,
N.O.R.E. Featuring Pharrell,
Kango’s Stein Massive,
Don Cherry,
Lyres,
Absolute Body Control,
Deadbeat,
Reuben Wilson,
The Evens,
Wasted Youth,
David Axelrod,
The Alarm Clocks,
Fad Gadget,
Bobby Sherman,
Bob Dylan,
Nick Cave & The Bad Seeds,
It's A Beautiful Day,
Jeru the Damaja,
Thinking Fellers Union Local 282,
Roxy Music,
Henry Cow,
Ultramagnetic MC's,
The Chocolate Watch Band,
Zero Boys,
The Moody Blues,
Cecil Taylor,
Gong,
Kenny Larkin,
Technova,
Bronski Beat,
Yazoo,
The Kinks,
Bootsy's Rubber Band,
The Barracudas,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.