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 Uruguay and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Columbus and Bremen.
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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 Crash Course in Science to the grime 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 David Axelrod. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Index 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer 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 oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
John Cale,
Robert Görl,
Johnny Osbourne,
Brass Construction,
Harpers Bizarre,
The Pretty Things,
Mandrill,
L. Decosne,
Ossler,
Magazine,
Jeru the Damaja,
Rhythim Is Rhythim,
Heavy D & The Boyz,
Gregory Isaacs,
Junior Murvin,
Idris Muhammad,
Chris Corsano,
The Red Krayola,
The Five Americans,
Althea and Donna,
Nirvana,
Judy Mowatt,
Slave,
Prince Buster,
Echo & the Bunnymen,
Skriet,
Alice Coltrane,
Lou Christie,
Visage,
The Offenders,
Traffic Nightmare,
Niagra,
Bill Wells,
Jerry's Kids,
New York Dolls,
The Saints,
Anakelly,
Al Stewart,
Ken Boothe,
The Happenings,
Sunsets and Hearts,
Sly & The Family Stone,
Crispy Ambulance,
Sun Ra,
Ohio Players,
U.S. Maple,
Alison Limerick,
Gang of Four,
Sonic Youth,
Manfred Mann's Earth Band,
Tomorrow,
The Wake,
Glambeats Corp.,
Trumans Water,
Porter Ricks,
Grandmaster Flash,
the Bar-Kays,
Toni Rubio,
Angels of Light & Akron/Family,
Loose Ends,
The Barracudas,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.