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 Kazakhstan and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Glasgow 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Strawberry Alarm Clock to the grunge 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 R.M.O.. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal rap 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Rites of Spring,
Mission of Burma,
Warsaw,
Interpol,
Boredoms,
Groovy Waters,
The Blues Magoos,
Oneida,
Flamin' Groovies,
Lou Reed & John Cale,
The Cramps,
Gary Puckett & The Union Gap,
Sad Lovers and Giants,
Derrick Morgan,
Yellowson,
David Axelrod,
Terrestrial Tones,
Dual Sessions,
Porter Ricks,
Deutsch Amerikanische Freundschaft,
Nik Kershaw,
Jerry Gold Smith,
Hoover,
Zero Boys,
The Toasters,
The Cosmic Jokers,
Don Cherry,
The Monks,
The Martian,
The Peanut Butter Conspiracy,
the Bar-Kays,
Kerri Chandler,
Deepchord,
cv313,
MC5,
Black Moon,
Joey Negro,
The Star Department,
Brothers Johnson,
John Lydon,
Stiv Bators,
La Düsseldorf,
Gang Starr,
Godley & Creme,
John Cale,
Jeff Mills,
ABBA,
Rekid,
Shuggie Otis,
Excepter,
Letta Mbulu,
Dark Day,
Deadbeat,
Oppenheimer Analysis,
Al Stewart,
Delon & Dalcan,
Negative Approach,
Jawbox,
The Techniques,
Kurtis Blow,
Leonard Cohen,
Connie Case, Connie Case, Connie Case, Connie Case.
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.