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 Monaco and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Madrid and Mexico City.
I'm losing my edge to the art-school Columbus 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 Brothers Johnson to the crunk kids.
I played it at the Troubador.
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 Throbbing Gristle. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every the Human League 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Brass Construction,
Jandek,
Quando Quango,
Das Ding,
Beasts of Bourbon,
Andrew Hill,
Shoche,
Make Up,
Zero Boys,
Byron Stingily,
Talk Talk,
Gichy Dan,
Electric Prunes,
Neu!,
Deutsch Amerikanische Freundschaft,
Scrapy,
The Searchers,
Marmalade,
Von Mondo,
Can,
Eddi Front,
Kings Of Tomorrow,
The Mojo Men,
Jeff Lynne,
the Fania All-Stars,
The Invisible,
Sam Rivers,
Agitation Free,
Cheater Slicks,
Ralphi Rosario,
Morten Harket,
DNA,
Joe Smooth,
The Chocolate Watch Band,
MDC,
Marc Romboy vs. Booka Shade,
Lower 48,
Grandmaster Flash and the Furious Five,
Duran Duran,
Procol Harum,
Cecil Taylor,
Kerri Chandler,
Robert Hood,
Chris & Cosey,
Joey Negro,
Dual Sessions,
Sugar Minott,
Gang of Four,
Faraquet,
The Doobie Brothers,
Wasted Youth,
Al Stewart,
Donald Byrd,
Sight & Sound,
Throbbing Gristle,
The Gun Club,
John Coltrane,
Nas,
The Shadows of Knight,
Colin Newman,
Yusef Lateef,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.