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 Togo and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1975.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 JFA to the punk 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 The Tremeloes. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and a chamberlin 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 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Cecil Taylor,
Niagra,
Infiniti,
Traffic Nightmare,
The Moleskins,
Pierre Henry,
De La Soul & Jungle Brothers,
Blancmange,
The Jesus and Mary Chain,
Roy Ayers,
Tommy Roe,
Vaughan Mason & Crew,
Trumans Water,
Freddie Wadling,
Public Enemy,
The Flesh Eaters,
Funkadelic,
Pole,
Eyeless In Gaza,
The Cramps,
Tropical Tobacco,
Gian Franco Pienzio,
The Buckinghams,
Gang Gang Dance,
A Certain Ratio,
Kurtis Blow,
KRS-One,
Soul Sonic Force,
Zero Boys,
Underground Resistance,
Blossom Toes,
Fat Boys,
the Sonics,
Roxy Music,
These Immortal Souls,
The Slits,
Eurythmics,
Rapeman,
Jeru the Damaja,
Kango’s Stein Massive,
Toni Rubio,
Tim Buckley,
Stetsasonic,
Gastr Del Sol,
Max Romeo,
Thinking Fellers Union Local 282,
Rites of Spring,
The Men They Couldn't Hang,
Echo & the Bunnymen,
Larry & the Blue Notes,
Cybotron,
Man Eating Sloth,
The New Christs,
Reagan Youth,
Average White Band,
the Swans,
Ash Ra Tempel,
The Litter,
the Human League,
The Tremeloes,
The Searchers,
Parry Music, Parry Music, Parry Music, Parry Music.
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.