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 Uruguay and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1970.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school Beijing 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 Juan Atkins to the dance kids.
I played it at the Crocodile.
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 The Wake tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Second Layer,
Sly & The Family Stone,
Roxy Music,
Gary Puckett & The Union Gap,
Chris & Cosey,
Whodini,
the Slits,
Lightning Bolt,
Nik Kershaw,
Sonic Youth,
Rod Modell,
DeepChord presents Echospace,
LL Cool J,
Brothers Johnson,
Metal Thangz,
James White and The Blacks,
The Index,
Pole,
Gang of Four,
Interpol,
Gong,
The Misunderstood,
The Standells,
Rakim,
D'Angelo,
Excepter,
The Raincoats,
Minny Pops,
The Royal Family And The Poor,
Eve St. Jones,
Simply Red,
Hashim,
Wings,
Traffic Nightmare,
The Real Kids,
Kool Moe Dee,
These Immortal Souls,
Clear Light,
Television Personalities,
Amon Düül,
Buzzcocks,
Lou Reed,
Barrington Levy,
Can,
Scion,
Kaleidoscope,
Hasil Adkins,
Lungfish,
The Skatalites,
Sugar Minott,
Mad Mike,
Red Lorry Yellow Lorry,
The Cramps,
Man Eating Sloth,
Soul II Soul,
June Days,
Darondo,
Kerri Chandler,
Pantaleimon,
CMW,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.