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 Uzbekistan and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Cairo and Edmonton.
I'm losing my edge to the art-school Houston 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 Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 Das Ding to the funk kids.
I played it at Trash.
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 Motions. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes 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 synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Tim Buckley,
Warren Ellis,
Rhythim Is Rhythim,
Slave,
Lower 48,
Inner City,
Japan,
Jacques Brel,
Ash Ra Tempel,
Terror Squad Feat. Camron,
Morten Harket,
The Slits,
Louis and Bebe Barron,
Gil Scott Heron,
Tubeway Army,
Pole,
AZ,
David Axelrod,
Sexual Harrassment,
Black Sheep,
Model 500,
Joe Smooth,
Maurizio,
Aloha Tigers,
Subhumans,
Marcia Griffiths,
This Heat,
the Slits,
Kas Product,
Avey Tare & Kría Brekkan,
Country Joe & The Fish,
Second Layer,
La Düsseldorf,
Main Source,
Teenage Jesus and the Jerks,
Porter Ricks,
The Dirtbombs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Judy Mowatt,
Amazonics,
Quando Quango,
Organ,
Basic Channel,
Public Image Ltd.,
The Shadows of Knight,
The Martian,
Oneida,
Black Moon,
Moss Icon,
Dave Gahan,
Albert Ayler,
Television Personalities,
Chrome,
Average White Band,
Shoche,
Danielle Patucci,
Johnny Osbourne,
Rufus Thomas,
Yusef Lateef,
Angels of Light & Akron/Family,
Dawn Penn,
The Monks, The Monks, The Monks, The Monks.
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.