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 Seychelles and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 The Mighty Diamonds to the punk kids.
I played it at the Spitz.
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 Man Parrish. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Albert Ayler 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
The Pop Group,
Tears for Fears,
Roy Ayers Ubiquity,
Kas Product,
Fluxion,
Chrome,
Dorothy Ashby,
David Axelrod,
Derrick May,
Nas,
Absolute Body Control,
Ultimate Spinach,
Popol Vuh,
Ituana,
Spoonie Gee,
Kaleidoscope,
A Certain Ratio,
Beasts of Bourbon,
Todd Rundgren,
The Music Machine,
Jandek,
Archie Shepp,
ABC,
The Walker Brothers,
Metal Thangz,
The Blues Magoos,
Cal Tjader,
cv313,
Visionaries,LMNO, T- Love & Iriscience,
Quantec,
Kurtis Blow,
Television Personalities,
Alison Limerick,
Banda Bassotti,
Josef K,
Aaron Thompson,
Arab on Radar,
David Bowie,
The Busters,
Lizzy Mercier Descloux,
Scion,
The Divine Comedy,
Blossom Toes,
Marshall Jefferson,
The Invisible,
Graham Central Station,
Barry Ungar,
The Mojo Men,
Pylon,
Tommy Roe,
Zapp,
Stetsasonic,
Sun City Girls,
48th St. Collective,
The Fugs,
Wings,
Sällskapet,
The Searchers,
Robert Görl,
D'Angelo,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.