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 Vietnam and from London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Woodstock 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 Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Peter Gordon & Love of Life Orchestra to the rock kids.
I played it at the Crocodile.
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 Alison Limerick. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Reuben Wilson,
Monks,
Isaac Hayes,
Lucky Dragons,
Anakelly,
Ohio Players,
Yusef Lateef,
Fluxion,
Joe Smooth,
The Index,
Donald Byrd,
Colin Newman,
T. Rex,
Sun Ra,
The Monochrome Set,
Goldenarms,
Sonny Sharrock,
Vainqueur,
Scott Walker,
Spandau Ballet,
Henry Cow,
Radiohead,
The Litter,
F. McDonald,
Big Daddy Kane,
Teenage Jesus and the Jerks,
Visage,
Byron Stingily,
Sly & The Family Stone,
Dual Sessions,
The Electric Prunes,
Cecil Taylor,
China Crisis,
K-Klass,
Essential Logic,
Ash Ra Tempel,
The Last Poets,
Kango’s Stein Massive,
Connie Case,
Arcadia,
Surgeon,
The Jesus and Mary Chain,
Patti Smith,
ABBA,
The Mojo Men,
Sugar Minott,
Selector Dub Narcotic,
Prince Buster,
Man Parrish,
Cal Tjader,
Archie Shepp,
Scion,
Bronski Beat,
Peter Gordon & Love of Life Orchestra,
Rakim,
Grandmaster Flash,
Soft Cell,
Michelle Simonal,
The Moody Blues,
Brick,
Avey Tare & Kría Brekkan,
Quando Quango,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.