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 Johannesburg.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Spokane 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 Ultravox to the punk kids.
I played it at the 40 Watt.
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 Rahsaan Roland Kirk. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
KRS-One,
The West Coast Pop Art Experimental Band,
Gang Green,
Fatback Band,
LL Cool J,
Depeche Mode,
Idris Muhammad,
Crooked Eye,
Ken Boothe,
Susan Cadogan,
The Slackers,
Babytalk,
Sound Behaviour,
Kerri Chandler,
Masters at Work,
James White and The Blacks,
Negative Approach,
Sun Ra Arkestra,
Con Funk Shun,
Funky Four + One,
Andrew Ashong & Theo Parrish,
EPMD,
Liaisons Dangereuses,
Barrington Levy,
London Community Gospel Choir,
The Knickerbockers,
Eric Dolphy,
Charles Mingus,
Siglo XX,
Gang Starr,
F. McDonald,
Wighnomy Brothers & Robag Wruhme,
Absolute Body Control,
Grauzone,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Vaughan Mason & Crew,
Buzzcocks,
Lightning Bolt,
Y Pants,
Silicon Teens,
Roy Ayers Ubiquity,
Shuggie Otis,
cv313,
Leonard Cohen,
Ohio Players,
Pierre Henry,
Urselle,
Ultimate Spinach,
Alice Coltrane,
Ludus,
Deadbeat,
Kerrie Biddell,
Electric Prunes,
The Mighty Diamonds,
Peter & Gordon,
The Seeds,
Soft Machine,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.