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 Guinea and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the marimba 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 Roy Ayers Ubiquity to the funk kids.
I played it at the Spitz.
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 Dead Boys. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Mr. Review,
The Sisters of Mercy,
Brass Construction,
Sister Nancy,
Soul Sonic Force,
DJ Style,
Nick Cave & The Bad Seeds,
Camberwell Now,
The Gories,
Roxette,
Pantytec,
T. Rex,
Traffic Nightmare,
Rekid,
Larry & the Blue Notes,
Gabor Szabo,
Lizzy Mercier Descloux,
MC5,
Jeru the Damaja,
Quando Quango,
Mantronix,
Sam Rivers,
Pharaoh Sanders and the Fire Engines,
FM Einheit,
The Invisible,
Bootsy's Rubber Band,
Theoretical Girls,
Heavy D & The Boyz,
Lalo Schifrin,
Zapp,
Sun City Girls,
Organ,
Q and Not U,
Susan Cadogan,
Lakeside,
Pet Shop Boys,
Henry Cow,
Super Lover Cee & Casanova Rud,
Arab on Radar,
Howard Jones,
X-101,
Bobby Womack,
Gang Green,
U.S. Maple,
The Kinks,
Section 25,
Outsiders,
Porter Ricks,
Jacques Brel,
Scrapy,
Bobby Byrd,
World's Most,
Talk Talk,
Lonnie Liston Smith,
Röyhkä ja Rättö ja Lehtisalo,
La Düsseldorf,
Sexual Harrassment,
Marc Romboy vs. Booka Shade,
Crooked Eye,
Marc Almond,
Television,
Groovy Waters,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.