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 Guinea-Bissau and from Accra.
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 1968 to 1974.
I'm losing my edge.
To all the kids in London and Lagos.
I'm losing my edge to the art-school Winnipeg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 Lalann to the rock 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 Gabor Szabo. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Amon Düül 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro 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 a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Alton Ellis,
The Count Five,
John Coltrane,
Excepter,
Arab on Radar,
Desert Stars,
Dark Day,
Malaria!,
the Association,
Sly & The Family Stone,
The Walker Brothers,
Donald Byrd,
Scratch Acid,
T.S.O.L.,
Swans,
Judy Mowatt,
Aaron Thompson,
Fatback Band,
the Human League,
Darondo,
Ornette Coleman,
Franke,
The West Coast Pop Art Experimental Band,
Sun Ra Arkestra,
Brothers Johnson,
One Last Wish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Aural Exciters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lou Christie,
Robert Görl,
MC5,
Tomorrow,
The Golliwogs,
The Fugs,
The Sonics,
the Fania All-Stars,
Chris Corsano,
Agent Orange,
Maurizio,
Warsaw,
Cymande,
The Men They Couldn't Hang,
The Leaves,
Colin Newman,
The Monochrome Set,
Stockholm Monsters,
L. Decosne,
Siouxsie and the Banshees,
Heavy D & The Boyz,
Lindisfarne,
Strawberry Alarm Clock,
Visionaries,LMNO, T- Love & Iriscience,
Black Sheep,
Captain Beefheart & His Magic Band,
Ronan,
ABBA,
Junior Murvin,
The Fortunes,
Chrome,
Grauzone, Grauzone, Grauzone, Grauzone.
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.