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 Liberia and from Spokane.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Mumbai 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 Lewis practice in a loft in Vancouver.
I was working on the güiro 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 Albert Ayler to the funk 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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Monolake 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 synthesizer and a clarinet 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Mission of Burma,
The Smoke,
Agitation Free,
The Red Krayola,
The Sonics,
Davy DMX,
Grandmaster Flash and the Furious Five,
Adolescents,
The Skatalites,
Bobby Sherman,
Maurizio,
Johnny Clarke,
Teenage Jesus and the Jerks,
Stockholm Monsters,
Alphaville,
Rekid,
Scott Walker + Sunn O))),
Roy Ayers Ubiquity,
Metal Thangz,
Kings Of Tomorrow,
Livin' Joy,
Tomorrow,
Scion,
Bauhaus,
Ponytail,
One Last Wish,
Sarah Menescal,
Neil Young,
Von Mondo,
Bang on a Can All-Stars,
Nick Cave & The Bad Seeds,
Cabaret Voltaire,
Television Personalities,
Angels of Light & Akron/Family,
Black Moon,
Masters at Work,
June of 44,
Curtis Mayfield,
Slave,
Cecil Taylor,
Erasure,
Skriet,
Cheater Slicks,
Qualms,
Make Up,
the Soft Cell,
Eddi Front,
Kerri Chandler,
The Last Poets,
Jerry's Kids,
Nas,
Tres Demented,
Roxette,
The Zeros,
Kurtis Blow,
Althea and Donna,
Marvin Gaye,
The Gun Club,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.