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 Sierra Leone and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Portland 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 The Fugs to the rock kids.
I played it at the 40 Watt.
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 The American Breed. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Cramps,
Erasure,
Depeche Mode,
Parry Music,
Fat Boys,
Warren Ellis,
The Moody Blues,
KRS-One,
Lonnie Liston Smith,
Peter Gordon & Love of Life Orchestra,
Minutemen,
Malaria!,
Guru Guru,
Girls At Our Best!,
Thee Headcoats,
Don Cherry,
Cameo,
Tres Demented,
Gang Gang Dance,
Quadrant,
The Raincoats,
Angry Samoans,
Magma,
Newcleus,
Section 25,
Neil Young & Crazy Horse,
Prince Buster,
The Monochrome Set,
Mantronix,
Bobby Womack,
Fatback Band,
Theoretical Girls,
Dawn Penn,
Pussy Galore,
FM Einheit,
Captain Beefheart & His Magic Band,
The Blues Magoos,
Crispy Ambulance,
Soulsonic Force,
Flamin' Groovies,
Carl Craig,
Bizarre Inc.,
John Lydon,
Freddie Wadling,
Heaven 17,
Black Moon,
Lower 48,
Grauzone,
Hardrive,
Moby Grape,
Siouxsie and the Banshees,
Q65,
Von Mondo,
Rakim,
Lou Reed,
Fifty Foot Hose,
Roy Ayers Ubiquity,
Con Funk Shun,
Dave Gahan,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.