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 Cyprus and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Milan 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Rod Modell to the dance 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 Sarah Menescal. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal crunk 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 marimba 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 harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
a-ha,
The Gap Band,
Jeru the Damaja,
Mandrill,
Glenn Branca,
Big Daddy Kane,
Pantytec,
FM Einheit,
Dave Gahan,
The Star Department,
Man Parrish,
Skarface,
Robert Wyatt,
Nas,
The Chocolate Watch Band,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
PIL,
Derrick May,
Brothers Johnson,
Rhythm & Sound,
The Invisible,
Amon Düül II,
Joey Negro,
DNA,
The Cramps,
Rosa Yemen,
Morten Harket,
cv313,
Bang on a Can All-Stars,
The Gories,
Mo-Dettes,
Ossler,
Cluster,
The Sound,
Blake Baxter,
Notorious Big And Bone Thugs,
X-102,
Toni Rubio,
CMW,
Kenny Larkin,
Robert Görl,
Stockholm Monsters,
Organ,
Cybotron,
Q and Not U,
Radiohead,
Magazine,
Howard Jones,
Yaz,
Gil Scott-Heron & Brian Jackson,
Echo & the Bunnymen,
Pete Rock & C.L. Smooth,
Wolf Eyes,
Black Bananas,
Hoover,
Susan Cadogan,
The Wake,
The Move,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.