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 Rwanda and from Columbus.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1973.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Marc Almond to the funk kids.
I played it at Trash.
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 KRS-One. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord 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 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?
Soft Cell,
The Monks,
Swell Maps,
Eric Copeland,
Soul Sonic Force,
Darondo,
Dorothy Ashby,
Main Source,
Jeff Lynne,
Jimmy McGriff,
Funky Four + One,
Johnny Clarke,
Oneida,
Lakeside,
Monolake,
Adolescents,
Cabaret Voltaire,
Fela Kuti,
Newcleus,
Section 25,
10cc,
T.S.O.L.,
Pantaleimon,
Malaria!,
X-101,
Art Ensemble Of Chicago,
OOIOO,
Sparks,
Susan Cadogan,
The Leaves,
The Music Machine,
Deakin,
Tom Boy,
Wolf Eyes,
Simply Red,
Crispy Ambulance,
Marine Girls,
Brand Nubian,
A Certain Ratio,
The Martian,
Vladislav Delay,
Janne Schatter,
Suicide,
X-Ray Spex,
Jesper Dahlback,
Radio Birdman,
Bauhaus,
Pharaoh Sanders and the Fire Engines,
Sonic Youth,
Cluster,
Kool Moe Dee,
Boogie Down Productions,
Nico,
Lungfish,
Scrapy,
Lower 48,
The Victims,
Inner City,
Agitation Free,
Visage,
Terry Callier,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.