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 Libya and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1971.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Mumbai 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 Art of Noise practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 The Motions to the punk kids.
I played it at the Hacienda.
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 Piero Umiliani. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin 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 chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Moby Grape,
The Searchers,
Bootsy Collins,
The Martian,
Wire,
Section 25,
Basic Channel,
Andrew Ashong & Theo Parrish,
Ronnie Foster,
Chris & Cosey,
Bobbi Humphrey,
Peter Gordon & Love of Life Orchestra,
Derrick May,
Los Fastidios,
The Residents,
The Gap Band,
L. Decosne,
Tubeway Army,
Beasts of Bourbon,
Matthew Halsall,
Davy DMX,
Anakelly,
Shuggie Otis,
Arab on Radar,
Pharaoh Sanders and the Fire Engines,
The Doors,
Boredoms,
Roxette,
Stockholm Monsters,
Porter Ricks,
The Fuzztones,
The Dead C,
Bang On A Can,
Agitation Free,
Wolf Eyes,
T.S.O.L.,
Underground Resistance,
Grauzone,
Popol Vuh,
Fear,
Gary Puckett & The Union Gap,
Kool G Rap & DJ Polo,
Lyres,
Siglo XX,
Pussy Galore,
The Standells,
New Age Steppers,
Cluster,
Marc Romboy vs. Booka Shade,
Second Layer,
Sun City Girls,
Youth Brigade,
Rahsaan Roland Kirk,
Orchestral Manoeuvres in the Dark,
Marmalade,
Supertramp,
Average White Band,
Echo & the Bunnymen,
Outsiders,
Skaos,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.