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 El Salvador and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school New York 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum 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 Liliput to the jazz 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 Ralphi Rosario. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin 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 rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Wire,
Rhythm & Sound,
The Gap Band,
The Sisters of Mercy,
Groovy Waters,
Von Mondo,
The Beau Brummels,
Pylon,
Bluetip,
John Coltrane,
Patti Smith,
Crispian St. Peters,
Interpol,
Joensuu 1685,
Wings,
Andrew Hill,
Saccharine Trust,
Be Bop Deluxe,
Chrome,
Smog,
Public Image Ltd.,
Wighnomy Brothers & Robag Wruhme,
Kayak,
Black Pus,
Vladislav Delay,
Ohio Players,
Bobbi Humphrey,
The Alarm Clocks,
Fluxion,
Don Cherry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Erasure,
Todd Terry,
Marcia Griffiths,
Roger Hodgson,
Mandrill,
Rotary Connection,
Talk Talk,
The Blackbyrds,
L. Decosne,
Dave Gahan,
Magazine,
Graham Central Station,
The Doobie Brothers,
Blake Baxter,
Derrick Morgan,
Funkadelic,
Erykah Badu,
James Chance & The Contortions,
Amon Düül II,
Terrestrial Tones,
Kenny Larkin,
the Association,
Justin Hinds & The Dominoes,
Ice-T,
Morten Harket,
Sun Ra Arkestra,
Organ,
Max Romeo,
Deutsch Amerikanische Freundschaft,
DJ Style, DJ Style, DJ Style, DJ Style.
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.