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 Laos and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1965 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Gabor Szabo to the grime 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 The Trojans. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Shoche 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 '90s.
I hear you're buying a clarinet and a spring reverb 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 snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Arab on Radar,
Vainqueur,
Maleditus Sound,
Masters at Work,
The Detroit Cobras,
Swell Maps,
Strawberry Alarm Clock,
X-101,
Joy Division,
James Chance & The Contortions,
Rites of Spring,
Babytalk,
Buzzcocks,
Mandrill,
Sly & The Family Stone,
Schoolly D,
Electric Light Orchestra,
Basic Channel,
Youth Brigade,
Marshall Jefferson,
Niagra,
The Raincoats,
The Divine Comedy,
Livin' Joy,
The Knickerbockers,
Wally Richardson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Parry Music,
Flash Fearless,
Y Pants,
Infiniti,
Fluxion,
The Doors,
Sarah Menescal,
Roxy Music,
Theoretical Girls,
Graham Central Station,
Peter & Gordon,
Janne Schatter,
Glambeats Corp.,
The Five Americans,
The Dead C,
Teenage Jesus and the Jerks,
Grandmaster Flash and the Furious Five,
Scientists,
Joe Smooth,
Radiopuhelimet,
Man Parrish,
Tomorrow,
Lebanon Hanover,
Bluetip,
The Chocolate Watch Band,
Mantronix,
The Pop Group,
La Düsseldorf,
Jeff Mills,
Radio Birdman,
The Toasters,
Alton Ellis,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.