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 Laos and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Lille and Manchester.
I'm losing my edge to the art-school Madrid 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes 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 The Fortunes to the techno kids.
I played it at the Crocodile.
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 Eve St. Jones. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Avey Tare's Slasher Flicks,
Erykah Badu,
Jesper Dahlback,
The New Christs,
Slave,
The Barracudas,
Kool G Rap & DJ Polo,
Echospace,
Schoolly D,
Bush Tetras,
Aaron Thompson,
The Associates,
Skriet,
Kevin Saunderson,
Liaisons Dangereuses,
Juan Atkins,
Neu!,
World's Most,
Second Layer,
X-Ray Spex,
Marc Romboy vs. Booka Shade,
Minnie Riperton,
Bobbi Humphrey,
Vaughan Mason & Crew,
Ice-T,
Gichy Dan,
Bill Wells,
Anthony Braxton,
Roy Ayers,
Faraquet,
Pete Rock & C.L. Smooth,
Sparks,
Roxy Music,
Kauko Röyhkä ja Narttu,
The Black Dice,
Surgeon,
Fugazi,
The Mummies,
Moby Grape,
Laurel Aitken,
Blossom Toes,
Janne Schatter,
The Count Five,
John Cale,
Hasil Adkins,
The J.B.'s,
Manfred Mann's Earth Band,
Easy Going,
Charles Mingus,
Hot Snakes,
Depeche Mode,
The Martian,
Urselle,
Davy DMX,
Bootsy's Rubber Band,
Harmonia,
New Order,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.