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 Libya and from Glasgow.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Paris and Mexico City.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the organ sounds with much patience.
I was there when Holger Czukay 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 the Normal to the punk kids.
I played it at the 40 Watt.
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 Alison Limerick tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb 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 synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
The Doors,
Eric Dolphy,
Vaughan Mason & Crew,
Scion,
Radiopuhelimet,
the Slits,
Pantaleimon,
Funkadelic,
Ultramagnetic MC's,
Gang of Four,
10cc,
These Immortal Souls,
Gregory Isaacs,
The Red Krayola,
The Birthday Party,
Pierre Henry,
R.M.O.,
The West Coast Pop Art Experimental Band,
The Residents,
Kurtis Blow,
Blossom Toes,
Pharoah Sanders,
Gang Gang Dance,
The Mighty Diamonds,
John Cale,
Matthew Bourne,
The Leaves,
Vainqueur,
Electric Light Orchestra,
Al Stewart,
Pere Ubu,
Marcia Griffiths,
Ash Ra Tempel,
Ten City,
Desert Stars,
Hasil Adkins,
New Age Steppers,
Roxette,
Gil Scott-Heron & Brian Jackson,
Easy Going,
Bill Wells,
Fluxion,
Chris Corsano,
Cluster,
JFA,
Barclay James Harvest,
The Remains,
David McCallum,
48th St. Collective,
The Angels of Light,
Mars,
Niagra,
Jesper Dahlbäck,
Swans,
The Monochrome Set,
Barbara Tucker,
Minor Threat,
Sonny Sharrock,
Morten Harket,
Crooked Eye,
The Shadows of Knight,
Cabaret Voltaire,
New Order, New Order, New Order, New Order.
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.