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 Nigeria and from Jakarta.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Lagos.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 The Happenings to the dance 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 Bill Wells. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal dance 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 James Chance & The Contortions record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Amazonics,
Agitation Free,
London Community Gospel Choir,
Johnny Osbourne,
U.S. Maple,
Shuggie Otis,
Be Bop Deluxe,
Siouxsie and the Banshees,
Alice Coltrane,
Minor Threat,
the Fania All-Stars,
Interpol,
Pylon,
The Mojo Men,
Agent Orange,
Rowland S Howard / Lydia Lunch,
Sällskapet,
The Sisters of Mercy,
Theoretical Girls,
Gichy Dan,
Sparks,
Magma,
These Immortal Souls,
Cabaret Voltaire,
Skriet,
Lindisfarne,
The Royal Family And The Poor,
Vainqueur,
Rekid,
Camron Feat. Jay Z And Juelz,
B.T. Express,
Minnie Riperton,
Slick Rick,
Jeff Mills,
Ohio Players,
Arab on Radar,
The Monochrome Set,
The Doobie Brothers,
Television,
Franke,
The Mummies,
Country Teasers,
Strawberry Alarm Clock,
KRS-One,
Wolf Eyes,
Shoche,
Delta 5,
Adolescents,
Index,
Rhythim Is Rhythim,
Black Pus,
Bluetip,
Byron Stingily,
Man Parrish,
The Angels of Light,
Ronnie Foster,
Joey Negro,
UT,
Rhythm & Sound,
Anthony Braxton,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.