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 Namibia and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1979.
I'm losing my edge.
To all the kids in Bologna and Taipei.
I'm losing my edge to the art-school Salvador 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Standells to the disco kids.
I played it at Trash.
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 Slave. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb 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 harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Peter and Kerry,
Fatback Band,
Pussy Galore,
Ultra Naté,
The Buckinghams,
Loose Ends,
Dorothy Ashby,
Barclay James Harvest,
Major Organ And The Adding Machine,
Joe Smooth,
Eli Mardock,
Idris Muhammad,
Crime,
Brothers Johnson,
Delta 5,
Mars,
Laurel Aitken,
Brick,
Lou Christie,
Sällskapet,
Babytalk,
Oppenheimer Analysis,
Lindisfarne,
Albert Ayler,
Susan Cadogan,
The Cure,
Radio Birdman,
Todd Rundgren,
Aural Exciters,
Kauko Röyhkä ja Narttu,
Roger Hodgson,
Fad Gadget,
John Cale,
Ralphi Rosario,
Al Stewart,
Janne Schatter,
Bluetip,
The Offenders,
The Cramps,
Skaos,
Roy Ayers Ubiquity,
Notorious Big And Bone Thugs,
Notorious BIG live in Amsterdam,
Khruangbin,
Derrick Morgan,
The Index,
The Litter,
The Slackers,
Lafayette Afro Rock Band,
Deutsch Amerikanische Freundschaft,
The Knickerbockers,
Glenn Branca,
Pierre Henry,
Black Pus,
Banda Bassotti,
Fluxion,
Unrelated Segments,
Sparks,
Make Up,
Jesper Dahlbäck,
Alphaville, Alphaville, Alphaville, Alphaville.
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.