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 Singapore and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Woodstock and New York.
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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Andrew Hill to the jazz kids.
I played it at Cafe Wha.
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 Strawberry Alarm Clock. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Lungfish 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Boredoms,
The Real Kids,
Slick Rick,
Nation of Ulysses,
Bluetip,
The Happenings,
Rhythm & Sound,
Joyce Sims,
Lou Reed,
The Tremeloes,
Arcadia,
Oneida,
the Association,
Boz Scaggs,
X-Ray Spex,
Con Funk Shun,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
48th St. Collective,
The Mighty Diamonds,
Notorious Big And Bone Thugs,
Cymande,
Sällskapet,
Magma,
Sixth Finger,
Terror Squad Feat. Camron,
The Sonics,
The Dave Clark Five,
Lyres,
Sun Ra Arkestra,
Loose Ends,
Avey Tare & Kría Brekkan,
Dead Boys,
Terry Callier,
Alice Coltrane,
Half Japanese,
Fatback Band,
kango's stein massive,
The Human League,
Talk Talk,
Shuggie Otis,
Bobby Sherman,
Gil Scott-Heron and Jamie xx,
Barbara Tucker,
Yaz,
Clear Light,
Glambeats Corp.,
The Doobie Brothers,
Girls At Our Best!,
Drexciya,
The Blackbyrds,
Jeru the Damaja,
Absolute Body Control,
The Fire Engines,
Harpers Bizarre,
The Cure,
Trumans Water,
Infiniti,
Niagra,
Jeff Mills,
The Doors,
Ten City,
Lalann, Lalann, Lalann, Lalann.
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.