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 Malaysia and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1974.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school London 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the güiro 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 The Doors 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 Thee Headcoats. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet 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 arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Heavy D & The Boyz,
Amazonics,
Al Stewart,
The Electric Prunes,
Jacob Miller,
Ten City,
Q and Not U,
The Residents,
This Heat,
Vainqueur,
Ajijia Myrayebe,
Davy DMX,
Sandy B,
The Angels of Light,
James Chance & The Contortions,
Selector Dub Narcotic,
Stockholm Monsters,
Colin Newman,
Frankie Knuckles,
Schoolly D,
The Count Five,
The Seeds,
Ponytail,
The Smiths,
The Neon Judgement,
The Fuzztones,
The Cowsills,
Rhythm & Sound,
Soulsonic Force,
The Slackers,
A Certain Ratio,
Bill Wells,
Faust,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jesper Dahlback,
8 Eyed Spy,
Teenage Jesus and the Jerks,
Nils Olav,
Joey Negro,
B.T. Express,
Big Daddy Kane,
John Foxx,
Reuben Wilson,
Nirvana,
John Holt,
Urselle,
Ultimate Spinach,
James White and The Blacks,
Essential Logic,
Blossom Toes,
DeepChord presents Echospace,
Underground Resistance,
Oneida,
Liliput,
The Skatalites,
Lebanon Hanover,
Soft Cell,
Fat Boys,
Kevin Saunderson,
Malaria!,
Sly & The Family Stone,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.