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 Togo and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1979.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 1968 at the first Can practice in a loft in Cologne.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Doors to the grunge kids.
I played it at the Spitz.
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 Sly & The Family Stone. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '80s.
I hear you're buying an arpeggiator 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 organ and bought a 808.
I hear that you and your band have sold your 808 and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
The Gories,
Bush Tetras,
The Selecter,
Donald Byrd,
Lalo Schifrin,
Bad Manners,
Radiohead,
Kaleidoscope,
The Busters,
Audionom,
Desert Stars,
Kings Of Tomorrow,
Peter Gordon & Love of Life Orchestra,
Section 25,
Minutemen,
Faraquet,
Marmalade,
The Barracudas,
Mr. Review,
Soft Machine,
Masters at Work,
Pere Ubu,
Sonic Youth,
Can,
Laurel Aitken,
Quantec,
James Chance & The Contortions,
Todd Rundgren,
Major Organ And The Adding Machine,
Amon Düül,
Derrick Morgan,
Pharaoh Sanders and the Fire Engines,
La Düsseldorf,
Depeche Mode,
Nirvana,
PIL,
Lou Reed & Metallica,
Visionaries,LMNO, T- Love & Iriscience,
Matthew Halsall,
Saccharine Trust,
Joe Finger,
Gil Scott-Heron and Jamie xx,
Eric Copeland,
Reuben Wilson,
Inner City,
The Royal Family And The Poor,
Scratch Acid,
New Order,
Leonard Cohen,
Terrestrial Tones,
Derrick May,
Peter and Kerry,
Mad Mike,
Ultravox,
Television,
Blancmange,
Dorothy Ashby,
the Soft Cell,
The Flesh Eaters,
Boogie Down Productions,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.