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 Bahrain and from Hong Kong.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 Liaisons Dangereuses 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 Radio Birdman. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The Cosmic Jokers record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai 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,
Magma,
New York Dolls,
Pete Rock & C.L. Smooth,
Wings,
Todd Terry,
Depeche Mode,
Tropical Tobacco,
Quantec,
Goldenarms,
Ultra Naté,
The Mummies,
John Foxx,
The Gun Club,
48th St. Collective,
The Alarm Clocks,
Ossler,
Shoche,
Porter Ricks,
The Gories,
Eric B and Rakim,
Blossom Toes,
Harpers Bizarre,
Jawbox,
Marvin Gaye,
The Blackbyrds,
Boredoms,
The Busters,
Bang On A Can,
The Gladiators,
Visage,
Newcleus,
Gang Gang Dance,
Crash Course in Science,
the Normal,
Oblivians,
Peter and Kerry,
Camouflage,
Section 25,
Tim Buckley,
Gang of Four,
The Move,
Brick,
Aaron Thompson,
Von Mondo,
Desert Stars,
Freddie Wadling,
Warren Ellis,
DJ Sneak,
Bobby Hutcherson,
The Selecter,
Red Lorry Yellow Lorry,
Jandek,
Kayak,
David Axelrod,
The Doors,
DeepChord presents Echospace,
Make Up,
Gang Starr,
U.S. Maple,
Notorious BIG live in Amsterdam,
Neil Young & Crazy Horse,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.