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 Malta and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 Zapp practice in a loft in Hamilton.
I was working on the oboe 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 Franke to the dance 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 Supertramp. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every The Trojans 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Dead Boys,
Heaven 17,
Moss Icon,
Sunsets and Hearts,
Shuggie Otis,
Howard Jones,
Blancmange,
Infiniti,
The Blues Magoos,
The Young Rascals,
Joe Finger,
Stockholm Monsters,
The Music Machine,
Stereo Dub,
Toni Rubio,
Cal Tjader,
Roxette,
Fugazi,
Godley & Creme,
Young Marble Giants,
Todd Terry,
The Gap Band,
Tommy Roe,
The Alarm Clocks,
Malaria!,
Peter Gordon & Love of Life Orchestra,
Vladislav Delay,
Todd Rundgren,
The Mummies,
Fela Kuti,
Cybotron,
Darondo,
Bobby Womack,
Scott Walker,
Marc Romboy vs. Booka Shade,
Sixth Finger,
The Gladiators,
Flipper,
Moby Grape,
Bauhaus,
Nils Olav,
Rod Modell,
the Swans,
Duran Duran,
Jacques Brel,
Terry Callier,
The Index,
Bobby Sherman,
Q and Not U,
David Axelrod,
Anthony Braxton,
The Gun Club,
Joey Negro,
The Red Krayola,
The Vogues,
JFA,
Deadbeat,
Dual Sessions,
Nas,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.