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 India and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Manila and Glasgow.
I'm losing my edge to the art-school Manchester 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 sitar 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 Hashim 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 Kerri Chandler. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Amazonics,
Bauhaus,
Piero Umiliani,
Spandau Ballet,
Mary Jane Girls,
John Coltrane,
Lonnie Liston Smith,
Cabaret Voltaire,
Andrew Ashong & Theo Parrish,
The Move,
Laurel Aitken,
Wighnomy Brothers & Robag Wruhme,
Symarip,
Maleditus Sound,
Urselle,
Donny Hathaway,
Terror Squad Feat. Camron,
Vladislav Delay,
Al Stewart,
Underground Resistance,
Chris & Cosey,
The Fugs,
Marc Almond,
Man Parrish,
Junior Murvin,
World's Most,
The Sound,
Soft Machine,
The Young Rascals,
Audionom,
Johnny Clarke,
Desert Stars,
Pantytec,
Marshall Jefferson,
Angry Samoans,
U.S. Maple,
Ultimate Spinach,
Bobbi Humphrey,
Avey Tare,
Boz Scaggs,
Fort Wilson Riot,
Rahsaan Roland Kirk,
Anakelly,
The Techniques,
Brick,
Agitation Free,
Grandmaster Flash,
Black Bananas,
Deepchord,
The Last Poets,
Richard Hell and the Voidoids,
The Five Americans,
Delta 5,
Reagan Youth,
Cameo,
Stetsasonic,
Yazoo,
Jeff Lynne,
Sandy B,
Eric Dolphy,
Roxette,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.