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 Gabon and from Milan.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Manila.
I'm losing my edge to the art-school Tehran 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 guitar 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 Kool G Rap & DJ Polo to the rock 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 Lee Hazlewood. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal electroclash 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 a guitar and a sitar 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 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Sarah Menescal,
Radio Birdman,
Lungfish,
Ultimate Spinach,
Hashim,
Joensuu 1685,
Janne Schatter,
Art Ensemble Of Chicago,
Big Daddy Kane,
Hardrive,
Angry Samoans,
The New Christs,
the Association,
Pantaleimon,
Sister Nancy,
The Tremeloes,
Avey Tare & Kría Brekkan,
Nation of Ulysses,
The Alarm Clocks,
Gian Franco Pienzio,
Marcia Griffiths,
the Sonics,
Pole,
The Divine Comedy,
Joe Smooth,
Pete Rock & C.L. Smooth,
Boredoms,
Richard Hell and the Voidoids,
Joyce Sims,
H. Thieme,
CMW,
Lucky Dragons,
Gong,
Kool Moe Dee,
Little Man,
Sparks,
Jeru the Damaja,
Average White Band,
Saccharine Trust,
The Durutti Column,
Donny Hathaway,
Jerry's Kids,
The Grass Roots,
Pharoah Sanders,
Notorious BIG live in Amsterdam,
Wire,
Avey Tare,
New Age Steppers,
Freddie Wadling,
Public Image Ltd.,
Gang Starr,
Liaisons Dangereuses,
Parry Music,
The Mummies,
Skaos,
Wighnomy Brothers & Robag Wruhme,
Mark Hollis,
Tears for Fears,
Interpol,
Red Lorry Yellow Lorry,
The Trojans,
Alice Coltrane,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.