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 Andorra and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1973.
I'm losing my edge.
To all the kids in Milan and Houston.
I'm losing my edge to the art-school Delhi 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Sixth Finger to the rap kids.
I played it at CBGB's.
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 Second Layer. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes 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 harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Public Enemy,
Lizzy Mercier Descloux,
Fugazi,
Accadde A,
Eric Dolphy,
Crispian St. Peters,
Flipper,
T.S.O.L.,
Ultravox,
The Gories,
Con Funk Shun,
Spoonie Gee,
The Seeds,
Lalann,
June Days,
Harpers Bizarre,
The Men They Couldn't Hang,
Crime,
Ice-T,
The Electric Prunes,
the Sonics,
Lonnie Liston Smith,
Crash Course in Science,
Fort Wilson Riot,
Scratch Acid,
Jacques Brel,
Echo & the Bunnymen,
Avey Tare,
Eric B and Rakim,
X-Ray Spex,
The Knickerbockers,
Second Layer,
Flash Fearless,
Ralphi Rosario,
Wire,
Kenny Larkin,
The Skatalites,
The Monks,
Unrelated Segments,
Cameo,
Sonic Youth,
The Flesh Eaters,
DJ Style,
Sound Behaviour,
Tomorrow,
Ajijia Myrayebe,
The Techniques,
Rosa Yemen,
John Coltrane,
Ohio Players,
Gang Starr,
Nick Fraelich,
Scott Walker + Sunn O))),
John Foxx,
Angry Samoans,
Theoretical Girls,
Easy Going,
Fear,
The Residents,
Peter and Kerry,
KRS-One,
Teenage Jesus and the Jerks,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.