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 Serbia and from Glasgow.
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 1960 to 1970.
I'm losing my edge.
To all the kids in New York and Taipei.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 Zapp to the punk kids.
I played it at the Troubador.
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 The Royal Family And The Poor. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Lakeside 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron 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 rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Lakeside,
Supertramp,
Scrapy,
Kevin Saunderson,
Piero Umiliani,
Pete Rock & C.L. Smooth,
Dark Day,
Eric Copeland,
Von Mondo,
The Victims,
The Names,
Dual Sessions,
Jacob Miller,
Pierre Henry,
Derrick May,
The Index,
Ohio Players,
Sly & The Family Stone,
Yaz,
Soul II Soul,
Terrestrial Tones,
Tomorrow,
Pet Shop Boys,
Swans,
Ten City,
Andrew Ashong & Theo Parrish,
The Fire Engines,
Grey Daturas,
Kings Of Tomorrow,
Suicide,
Gang Gang Dance,
Ultra Naté,
Arab on Radar,
Rufus Thomas,
Andrew Hill,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Traffic Nightmare,
James Chance & The Contortions,
A Flock of Seagulls,
Ajijia Myrayebe,
Kool G Rap & DJ Polo,
Junior Murvin,
The Pop Group,
Fifty Foot Hose,
Ralphi Rosario,
The Invisible,
Little Man,
Fugazi,
Flipper,
Thee Headcoats,
The Raincoats,
Theoretical Girls,
Howard Jones,
Desert Stars,
Electric Light Orchestra,
The Techniques,
Sam Rivers,
Avey Tare,
Urselle,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.