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 Antigua and from Glasgow.
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 1960 to 1974.
I'm losing my edge.
To all the kids in New York and Tokyo.
I'm losing my edge to the art-school Bremen 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Henry Cow to the funk kids.
I played it at the Crocodile.
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 Theoretical Girls. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
The Beau Brummels,
Eden Ahbez,
The Mojo Men,
Magazine,
It's A Beautiful Day,
The Motions,
Avey Tare's Slasher Flicks,
JFA,
Avey Tare & Kría Brekkan,
Gian Franco Pienzio,
Harpers Bizarre,
Spandau Ballet,
Angels of Light & Akron/Family,
Joe Finger,
Kas Product,
Easy Going,
Avey Tare,
Gary Puckett & The Union Gap,
New Order,
Marshall Jefferson,
Main Source,
Andrew Ashong & Theo Parrish,
Minny Pops,
Lalo Schifrin,
Lee Hazlewood,
Max Romeo,
The Dirtbombs,
Jerry's Kids,
Groovy Waters,
DNA,
Barclay James Harvest,
Anthony Braxton,
Jesper Dahlbäck,
Organ,
Mandrill,
Barrington Levy,
Kool G Rap & DJ Polo,
Art Ensemble Of Chicago,
Rekid,
Laurel Aitken,
Joey Negro,
Lightning Bolt,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Last Poets,
Jeru the Damaja,
The Cosmic Jokers,
Althea and Donna,
Scientists,
Freddie Wadling,
Pylon,
Yusef Lateef,
Deepchord,
Lafayette Afro Rock Band,
The Pretty Things,
Excepter,
L. Decosne,
Qualms,
Drive Like Jehu,
Jeff Lynne,
Infiniti,
The Grass Roots,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.