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 Tonga and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Madrid.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes 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 Glambeats Corp. to the funk kids.
I played it at the Astoria.
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 Skaos. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Alice Coltrane 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Chris Corsano record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
The Count Five,
The Names,
Rhythm & Sound,
The Dirtbombs,
Alison Limerick,
Delta 5,
Moby Grape,
Country Joe & The Fish,
Liaisons Dangereuses,
Gil Scott-Heron & Brian Jackson,
the Bar-Kays,
Jandek,
Shuggie Otis,
Larry & the Blue Notes,
Blancmange,
Talk Talk,
Beasts of Bourbon,
Visionaries,LMNO, T- Love & Iriscience,
Bill Wells,
John Coltrane,
L. Decosne,
Jacob Miller,
Dead Boys,
Eddi Front,
The Star Department,
Flipper,
Lou Christie,
Au Pairs,
The Martian,
Spandau Ballet,
Sarah Menescal,
Sam Rivers,
Television Personalities,
The Slits,
The Beau Brummels,
Zapp,
Bobbi Humphrey,
Peter & Gordon,
Neil Young,
Dual Sessions,
Minny Pops,
The Dave Clark Five,
Ten City,
Nick Cave & The Bad Seeds,
Kings Of Tomorrow,
The Doobie Brothers,
D'Angelo,
Youth Brigade,
X-101,
Juan Atkins,
The West Coast Pop Art Experimental Band,
Sugar Minott,
Thinking Fellers Union Local 282,
Don Cherry,
Model 500,
Liliput,
Connie Case,
The Invisible,
Orchestral Manoeuvres in the Dark,
Oneida,
Vladislav Delay,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.