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 Paraguay and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Junior Murvin to the crunk 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 Kaleidoscope. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Jacob Miller,
Trumans Water,
Livin' Joy,
Eve St. Jones,
Marc Almond,
Sixth Finger,
Dorothy Ashby,
Don Cherry,
Lower 48,
Jerry Gold Smith,
Deutsch Amerikanische Freundschaft,
Idris Muhammad,
The Flesh Eaters,
Brass Construction,
Kayak,
The Star Department,
Strawberry Alarm Clock,
Bill Near,
Schoolly D,
Thinking Fellers Union Local 282,
Dark Day,
Graham Central Station,
Frankie Knuckles,
Masters at Work,
Con Funk Shun,
The Birthday Party,
The Alarm Clocks,
Heavy D & The Boyz,
the Bar-Kays,
Index,
Vaughan Mason & Crew,
Hot Snakes,
U.S. Maple,
The Sound,
Pharaoh Sanders and the Fire Engines,
Main Source,
Rhythm & Sound,
Roy Ayers Ubiquity,
Pharoah Sanders,
Erasure,
Oneida,
Inner City,
Cybotron,
Bill Wells,
Tubeway Army,
Shuggie Otis,
Eric Copeland,
Roxy Music,
Wighnomy Brothers & Robag Wruhme,
The Dead C,
Mo-Dettes,
The Real Kids,
Super Lover Cee & Casanova Rud,
Agent Orange,
AZ,
Severed Heads,
Mr. Review,
Suicide,
10cc,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.