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 Honduras and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Johnny Osbourne to the grime 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 Rapeman. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Ornette Coleman 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 an oboe and a sitar 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 arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Section 25,
Barbara Tucker,
Model 500,
Kool G Rap & DJ Polo,
F. McDonald,
Neil Young,
Matthew Bourne,
Surgeon,
Joey Negro,
Accadde A,
Kauko Röyhkä ja Narttu,
Skriet,
Tom Boy,
Stiv Bators,
Pulsallama,
Liaisons Dangereuses,
Soft Cell,
Essential Logic,
Babytalk,
Eve St. Jones,
The Motions,
Masters at Work,
Technova,
The Tremeloes,
Jimmy McGriff,
Y Pants,
Sex Pistols,
Pere Ubu,
Zero Boys,
The Dirtbombs,
DJ Style,
The Beau Brummels,
Fluxion,
Don Cherry,
Maleditus Sound,
Q and Not U,
The Human League,
The Fire Engines,
Lindisfarne,
Magma,
Lungfish,
Eurythmics,
Porter Ricks,
The Leaves,
Public Image Ltd.,
Massinfluence,
Slick Rick,
Prince Buster,
The Doors,
The Fortunes,
Sam Rivers,
T. Rex,
Reuben Wilson,
Todd Rundgren,
Gastr Del Sol,
Sun Ra,
Quantec,
Kevin Saunderson,
Depeche Mode,
Albert Ayler,
Byron Stingily,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.