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 Fiji and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Gian Franco Pienzio to the rap kids.
I played it at CBGB's.
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 Ultravox. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Rotary Connection 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb 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 theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Tears for Fears,
The Remains,
Manfred Mann's Earth Band,
Ultra Naté,
Gang Green,
Angry Samoans,
Chris Corsano,
Moss Icon,
Ituana,
Arab on Radar,
Saccharine Trust,
the Bar-Kays,
Anthony Braxton,
Be Bop Deluxe,
Soul Sonic Force,
Nas,
Byron Stingily,
Derrick Morgan,
Rosa Yemen,
Basic Channel,
Scott Walker,
CMW,
Dark Day,
Black Pus,
World's Most,
The Blackbyrds,
The Litter,
Reagan Youth,
Procol Harum,
MDC,
The Motions,
Brand Nubian,
Mark Hollis,
Monks,
the Germs,
Skaos,
The Doors,
Visionaries,LMNO, T- Love & Iriscience,
Radiopuhelimet,
Surgeon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Beasts of Bourbon,
Idris Muhammad,
Carl Craig,
The Alarm Clocks,
Wighnomy Brothers & Robag Wruhme,
Kool G Rap & DJ Polo,
Dual Sessions,
Erykah Badu,
D'Angelo,
Lizzy Mercier Descloux,
The Zeros,
Joey Negro,
H. Thieme,
Zero Boys,
The Misunderstood,
The Fall,
The Tremeloes,
Franke,
Delta 5, Delta 5, Delta 5, Delta 5.
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.