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 Austria and from New York.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1976.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Seoul 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Dead Boys to the grunge kids.
I played it at the 40 Watt.
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 Moss Icon. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Music Machine,
Rahsaan Roland Kirk,
Cybotron,
Babytalk,
Electric Prunes,
Joey Negro,
Lou Christie,
OOIOO,
Los Fastidios,
Youth Brigade,
The Residents,
PIL,
Scratch Acid,
Eyeless In Gaza,
Flipper,
Crime,
Bootsy's Rubber Band,
Dawn Penn,
Cecil Taylor,
Chris & Cosey,
Eric Dolphy,
Warren Ellis,
Quantec,
Massinfluence,
Blancmange,
Wasted Youth,
Rosa Yemen,
Delta 5,
The Blues Magoos,
Livin' Joy,
H. Thieme,
Hoover,
Kaleidoscope,
Barrington Levy,
The Chocolate Watch Band,
Suburban Knight,
The New Christs,
Crooked Eye,
Sad Lovers and Giants,
The Birthday Party,
Liliput,
The Doors,
Selector Dub Narcotic,
Ultimate Spinach,
Ash Ra Tempel,
Magazine,
Ultravox,
Das Ding,
Can,
Newcleus,
The Busters,
Visage,
Josef K,
Carl Craig,
The Cure,
Quando Quango,
John Holt,
Avey Tare's Slasher Flicks,
London Community Gospel Choir,
Sandy B, Sandy B, Sandy B, Sandy B.
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.