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 Micronesia and from Sao Paulo.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Columbus and Toronto.
I'm losing my edge to the art-school Columbus 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 chamberlin 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 Lizzy Mercier Descloux to the dance kids.
I played it at the Troubador.
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 Alice Coltrane. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Jandek,
Pierre Henry,
Agent Orange,
Barrington Levy,
Radio Birdman,
The Misunderstood,
The Alarm Clocks,
Nick Fraelich,
Depeche Mode,
Delta 5,
Pantaleimon,
the Germs,
Rhythim Is Rhythim,
The Cowsills,
Unrelated Segments,
the Soft Cell,
X-101,
R.M.O.,
Yaz,
X-102,
Newcleus,
John Coltrane,
Jeff Mills,
Altered Images,
Kurtis Blow,
Average White Band,
The Last Poets,
Supertramp,
Alphaville,
Lucky Dragons,
Fatback Band,
Avey Tare's Slasher Flicks,
Banda Bassotti,
Yusef Lateef,
Subhumans,
Kevin Saunderson,
Funky Four + One,
Yellowson,
Roxy Music,
Oneida,
Jeru the Damaja,
The Fuzztones,
EPMD,
China Crisis,
Cecil Taylor,
Derrick Morgan,
Harry Pussy,
Bobby Sherman,
Godley & Creme,
Stiv Bators,
Maurizio,
June of 44,
Sticky Fingaz feat. Raekwon,
Mo-Dettes,
Peter & Gordon,
MC5,
Morten Harket,
Grauzone,
The Red Krayola,
Suburban Knight,
The Modern Lovers,
Little Man,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.