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 Israel and from Tehran.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Woodstock and Woodstock.
I'm losing my edge to the art-school Jakarta 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 Ubu practice in a loft in Cleveland.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Harmonia to the disco 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 Joey Negro. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer 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 mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Von Mondo,
Mr. Review,
Dead Boys,
Super Lover Cee & Casanova Rud,
Lakeside,
Donald Byrd,
Toni Rubio,
K-Klass,
Stockholm Monsters,
Gerry Rafferty,
Kings Of Tomorrow,
Smog,
Ponytail,
Goldenarms,
Joe Finger,
The Trojans,
The Tremeloes,
Rotary Connection,
Iggy Pop,
Justin Hinds & The Dominoes,
The Velvet Underground,
The Gories,
The Cure,
Echo & the Bunnymen,
Ash Ra Tempel,
Quando Quango,
Lou Christie,
Todd Terry,
Jeru the Damaja,
Flamin' Groovies,
Don Cherry,
Masters at Work,
Idris Muhammad,
Wasted Youth,
Gang Gang Dance,
the Bar-Kays,
Jacques Brel,
Wally Richardson,
Sex Pistols,
Aaron Thompson,
Boogie Down Productions,
EPMD,
The Jesus and Mary Chain,
R.M.O.,
Camouflage,
Monks,
Spoonie Gee,
Chris Corsano,
Brass Construction,
Simply Red,
Jesper Dahlbäck,
Thompson Twins,
Zapp,
The Selecter,
Funky Four + One,
Sun Ra,
DNA,
Peter and Kerry,
Japan, Japan, Japan, Japan.
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.