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 Madrid.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Sound to the funk kids.
I played it at the Roxy.
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 Nik Kershaw. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and a sitar 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 chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Rhythm & Sound,
Section 25,
One Last Wish,
Underground Resistance,
Sun Ra Arkestra,
Guru Guru,
Ludus,
John Cale,
Lizzy Mercier Descloux,
The Skatalites,
Sex Pistols,
New York Dolls,
Eve St. Jones,
Oppenheimer Analysis,
Swans,
Sixth Finger,
Curtis Mayfield,
Gabor Szabo,
Sly & The Family Stone,
Mad Mike,
Animal Collective,
Audionom,
Monks,
Altered Images,
Infiniti,
Marcia Griffiths,
Sarah Menescal,
The Golliwogs,
Bobby Womack,
Crooked Eye,
Lalann,
Pharoah Sanders,
Dual Sessions,
Joe Smooth,
Judy Mowatt,
Art Ensemble Of Chicago,
Yellowson,
The Cowsills,
Flash Fearless,
Black Pus,
Organ,
Country Teasers,
Urselle,
T. Rex,
Soulsonic Force,
Bootsy Collins,
Angels of Light & Akron/Family,
Pere Ubu,
Bobbi Humphrey,
Gichy Dan,
Flipper,
the Human League,
John Lydon,
Easy Going,
Teenage Jesus and the Jerks,
The Dirtbombs,
Vainqueur,
The Fortunes,
Los Fastidios,
AZ,
Oneida, Oneida, Oneida, Oneida.
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.