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 Turkey and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 Paris and Houston.
I'm losing my edge to the art-school Copenhagen 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the theremin 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 CMW to the rap kids.
I played it at the Roxy.
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 Heavy D & The Boyz. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every The Royal Family And The Poor 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 guitar and a güiro 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 clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Can,
Alton Ellis,
The Tremeloes,
Boogie Down Productions,
Pussy Galore,
Underground Resistance,
Lalo Schifrin,
Severed Heads,
Rhythm & Sound,
Fat Boys,
Country Teasers,
June Days,
John Coltrane,
Blancmange,
Grandmaster Flash,
Sandy B,
Monolake,
Lee Hazlewood,
Toni Rubio,
The Slackers,
Sam Rivers,
L. Decosne,
Jimmy McGriff,
The Alarm Clocks,
Eric Dolphy,
La Düsseldorf,
Deakin,
Oppenheimer Analysis,
Hardrive,
The Durutti Column,
Soulsonic Force,
Ken Boothe,
Janne Schatter,
Lalann,
Bang On A Can,
Surgeon,
A Certain Ratio,
Vainqueur,
Johnny Osbourne,
Kauko Röyhkä ja Narttu,
Groovy Waters,
The Gories,
Inner City,
Pere Ubu,
Bush Tetras,
Swans,
Camouflage,
Echo & the Bunnymen,
Soft Cell,
DNA,
The Smoke,
Leonard Cohen,
Sad Lovers and Giants,
Aloha Tigers,
The Index,
Chris Corsano,
Ultramagnetic MC's,
The Invisible,
Black Flag,
Gregory Isaacs,
Freddie Wadling,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.