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 Dominica and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Notorious BIG live in Amsterdam to the grunge kids.
I played it at the Astoria.
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 Barclay James Harvest tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 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 synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Slick Rick,
Deutsch Amerikanische Freundschaft,
Excepter,
CMW,
Hardrive,
Blancmange,
Joey Negro,
Amon Düül II,
The American Breed,
Deakin,
Yellowson,
Nils Olav,
Pole,
Maleditus Sound,
David Axelrod,
Pere Ubu,
Nirvana,
Lebanon Hanover,
The Barracudas,
Siouxsie and the Banshees,
The Gories,
Boz Scaggs,
Toni Rubio,
Urselle,
Zapp,
Kango’s Stein Massive,
Derrick May,
Kool Moe Dee,
Frankie Knuckles,
Minny Pops,
The Dave Clark Five,
Rotary Connection,
Adolescents,
Sarah Menescal,
David McCallum,
Supertramp,
The Gladiators,
Barbara Tucker,
Talk Talk,
The Red Krayola,
Soul Sonic Force,
Isaac Hayes,
Traffic Nightmare,
Robert Görl,
Beasts of Bourbon,
Harry Pussy,
Magazine,
The Dirtbombs,
Jesper Dahlback,
Ludus,
Audionom,
The Royal Family And The Poor,
Sonic Youth,
Delta 5,
Soulsonic Force,
Man Parrish,
Basic Channel,
Lalann,
Average White Band,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.