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 Nicaragua and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ 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 West Coast Pop Art Experimental Band to the crunk 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 Ultra Naté. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra 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?
Skaos,
Technova,
Isaac Hayes,
Ken Boothe,
The Standells,
Robert Hood,
Byron Stingily,
Talk Talk,
Sight & Sound,
Quadrant,
Bobby Sherman,
Arthur Verocai,
Roger Hodgson,
The Chocolate Watch Band,
Pharaoh Sanders and the Fire Engines,
D'Angelo,
Rowland S Howard / Lydia Lunch,
Kool G Rap & DJ Polo,
Black Bananas,
Dual Sessions,
Rapeman,
T. Rex,
The Walker Brothers,
Soft Cell,
Hashim,
The Alarm Clocks,
Radiopuhelimet,
The Cure,
Marvin Gaye,
David Bowie,
Goldenarms,
Susan Cadogan,
Public Image Ltd.,
AZ,
Lalann,
Chris & Cosey,
Marcia Griffiths,
Wire,
Cymande,
Radiohead,
Pussy Galore,
Magazine,
Rahsaan Roland Kirk,
the Slits,
Nick Cave & The Bad Seeds,
Bush Tetras,
F. McDonald,
The Golliwogs,
Yellowson,
Quantec,
Colin Newman,
Television Personalities,
The Slits,
Piero Umiliani,
Selector Dub Narcotic,
Fela Kuti,
The Doors,
Spoonie Gee,
Cal Tjader,
Roxy Music,
Ossler,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.