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 Mongolia and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
I'm losing my edge to the art-school Delhi 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Josef K to the dance 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 Sandy B. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a rhodes 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 arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
The Monochrome Set,
Nick Fraelich,
Aaron Thompson,
The Walker Brothers,
June of 44,
Make Up,
The Saints,
Peter & Gordon,
MDC,
Lucky Dragons,
Notorious BIG live in Amsterdam,
Wolf Eyes,
the Sonics,
Orchestral Manoeuvres in the Dark,
Joe Smooth,
Rahsaan Roland Kirk,
Rod Modell,
Khruangbin,
Harry Pussy,
Marshall Jefferson,
Camouflage,
The Victims,
Soulsonic Force,
Max Romeo,
Lakeside,
London Community Gospel Choir,
Gil Scott-Heron & Brian Jackson,
Lou Christie,
Pagans,
E-Dancer,
Stiv Bators,
the Human League,
Unrelated Segments,
Magma,
The Angels of Light,
Thompson Twins,
Ludus,
Roxette,
Cameo,
Monolake,
Reagan Youth,
Funkadelic,
The Grass Roots,
the Normal,
Pierre Henry,
Dave Gahan,
R.M.O.,
Monks,
Siouxsie and the Banshees,
the Germs,
Black Moon,
The Invisible,
Country Teasers,
Joy Division,
Tim Buckley,
Piero Umiliani,
Lou Reed & Metallica,
Nation of Ulysses,
Royal Trux,
A Certain Ratio,
Scientists,
Cybotron, Cybotron, Cybotron, Cybotron.
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.