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 Philippines and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Houston and Cairo.
I'm losing my edge to the art-school Taipei 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Mr. Review to the dance 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 Scan 7. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a harpsichord 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 marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Pussy Galore,
Barclay James Harvest,
Bang On A Can,
John Holt,
Curtis Mayfield,
Camouflage,
Nick Cave & The Bad Seeds,
Röyhkä ja Rättö ja Lehtisalo,
Camron Feat. Jay Z And Juelz,
The Red Krayola,
Vladislav Delay,
Josef K,
The Neon Judgement,
The Move,
Avey Tare's Slasher Flicks,
The Detroit Cobras,
The Remains,
Japan,
Grandmaster Flash and the Furious Five,
Pantaleimon,
Marshall Jefferson,
Jerry Gold Smith,
Parry Music,
Monolake,
The Slackers,
a-ha,
Peter and Kerry,
Nick Fraelich,
Kevin Saunderson,
The Doobie Brothers,
Joe Smooth,
Brick,
Joy Division,
Scan 7,
L. Decosne,
MC5,
Alton Ellis,
B.T. Express,
The Alarm Clocks,
Gil Scott-Heron and Jamie xx,
The Index,
Donny Hathaway,
Moss Icon,
Chrome,
Echospace,
Country Teasers,
Eddi Front,
The Gories,
Rowland S Howard / Lydia Lunch,
The Fire Engines,
Throbbing Gristle,
Thee Headcoats,
Circle Jerks,
Shuggie Otis,
Scott Walker,
Wire,
The Velvet Underground,
Eric B and Rakim,
8 Eyed Spy,
Severed Heads,
Idris Muhammad,
Accadde A,
The Smoke, The Smoke, The Smoke, The Smoke.
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.