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 Uganda and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Paris 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Sunsets and Hearts to the rock kids.
I played it at the Astoria.
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 Dead Boys. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Trojans record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
ABC,
John Holt,
Circle Jerks,
Charles Mingus,
Laurel Aitken,
Mad Mike,
The Divine Comedy,
Oblivians,
Peter and Kerry,
The Victims,
Scientists,
Gang Gang Dance,
Babytalk,
Kool G Rap & DJ Polo,
Faust,
The Residents,
Goldenarms,
Adolescents,
Organ,
Delon & Dalcan,
The Standells,
Matthew Halsall,
The Walker Brothers,
Marshall Jefferson,
Davy DMX,
Fort Wilson Riot,
Sun Ra Arkestra,
The Invisible,
Rakim,
Lou Reed & John Cale,
Mission of Burma,
Eurythmics,
The Trojans,
Toni Rubio,
The Cosmic Jokers,
DeepChord presents Echospace,
Underground Resistance,
Arcadia,
Hoover,
Pussy Galore,
Fifty Foot Hose,
Tropical Tobacco,
Marmalade,
Shoche,
The Blues Magoos,
London Community Gospel Choir,
Alice Coltrane,
Ronnie Foster,
T. Rex,
Cymande,
Sällskapet,
Scott Walker + Sunn O))),
Angry Samoans,
Monolake,
The Associates,
Chris & Cosey,
James White and The Blacks,
Vladislav Delay,
Colin Newman,
Jeff Mills,
Major Organ And The Adding Machine,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.