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 Maldives and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school New York 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the sitar 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 John Holt to the grime kids.
I played it at the Hacienda.
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 Blancmange. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar 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 linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
It's A Beautiful Day,
Lyres,
James Chance & The Contortions,
Andrew Hill,
Yaz,
Chrome,
Roger Hodgson,
Pantaleimon,
Tropical Tobacco,
Swans,
Hasil Adkins,
Harmonia,
Subhumans,
Jerry Gold Smith,
Thompson Twins,
E-Dancer,
48th St. Collective,
John Foxx,
Quantec,
New York Dolls,
Groovy Waters,
Fugazi,
The Invisible,
Deutsch Amerikanische Freundschaft,
Easy Going,
Scratch Acid,
Tres Demented,
Robert Görl,
Red Lorry Yellow Lorry,
DeepChord presents Echospace,
Bootsy's Rubber Band,
Jimmy McGriff,
Soul II Soul,
Bobby Womack,
Brand Nubian,
The Leaves,
Neu!,
Oblivians,
Rhythim Is Rhythim,
Lungfish,
Terror Squad Feat. Camron,
Mandrill,
Sexual Harrassment,
Derrick Morgan,
The Martian,
The Shadows of Knight,
Man Eating Sloth,
The American Breed,
The Royal Family And The Poor,
Sly & The Family Stone,
Kerrie Biddell,
Tommy Roe,
Jacques Brel,
Röyhkä ja Rättö ja Lehtisalo,
Terry Callier,
The Dead C,
The Cure,
Glambeats Corp.,
Main Source,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.