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 Serbia and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Spokane and New York.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro 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 N.O.R.E. Featuring Pharrell to the grime kids.
I played it at the Roxy.
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 Scott Walker. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
David McCallum,
The Selecter,
Red Lorry Yellow Lorry,
Freddie Wadling,
Panda Bear,
The Fall,
Aural Exciters,
Crispy Ambulance,
Television,
Robert Hood,
Technova,
Anthony Braxton,
The Pop Group,
The Jesus and Mary Chain,
Dark Day,
Monks,
The J.B.'s,
Jeru the Damaja,
The Smoke,
The Kinks,
The Residents,
Sticky Fingaz feat. Raekwon,
Mantronix,
Isaac Hayes,
Pharoah Sanders,
Kurtis Blow,
The Names,
Oblivians,
Bluetip,
Mad Mike,
T.S.O.L.,
Minnie Riperton,
Rhythim Is Rhythim,
Glambeats Corp.,
Ronnie Foster,
Man Eating Sloth,
Major Organ And The Adding Machine,
Banda Bassotti,
Porter Ricks,
Tom Boy,
The Busters,
London Community Gospel Choir,
Super Lover Cee & Casanova Rud,
Orchestral Manoeuvres in the Dark,
Easy Going,
Arcadia,
The Pretty Things,
Kaleidoscope,
Radio Birdman,
Skriet,
Mandrill,
K-Klass,
Larry & the Blue Notes,
Avey Tare's Slasher Flicks,
Fugazi,
Sarah Menescal,
10cc,
Con Funk Shun,
Ronan, Ronan, Ronan, Ronan.
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.