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 Kuwait and from Portland.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Godley & Creme to the funk kids.
I played it at the 40 Watt.
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 Eli Mardock. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every Bad Manners 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ 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 arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Angry Samoans,
Country Teasers,
Icehouse,
Surgeon,
Susan Cadogan,
Television,
Jeff Mills,
PIL,
Adolescents,
Cal Tjader,
Rod Modell,
The Sound,
Section 25,
Piero Umiliani,
Kerrie Biddell,
Subhumans,
Nirvana,
Donald Byrd,
Tomorrow,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oppenheimer Analysis,
Wire,
Harmonia,
Pantytec,
Pole,
The Flesh Eaters,
The Monochrome Set,
The Neon Judgement,
Toni Rubio,
Con Funk Shun,
Juan Atkins,
Terry Callier,
Bluetip,
kango's stein massive,
Robert Hood,
Minor Threat,
the Swans,
The Toasters,
The Busters,
One Last Wish,
Roxette,
X-102,
Mo-Dettes,
Half Japanese,
Blake Baxter,
the Normal,
London Community Gospel Choir,
Ultramagnetic MC's,
the Human League,
Lou Christie,
Gabor Szabo,
Ultra Naté,
The Chocolate Watch Band,
Letta Mbulu,
Eyeless In Gaza,
Skriet,
Ice-T,
Television Personalities,
Los Fastidios,
Sandy B, Sandy B, Sandy B, Sandy B.
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.