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 Mali and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Columbus 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 Feelies practice in a loft in Haledon.
I was working on the clarinet 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 Gang Gang Dance to the electroclash kids.
I played it at the Hacienda.
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 Dual Sessions. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Chrome 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord 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 arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
Index,
The Zeros,
Camouflage,
PIL,
Oppenheimer Analysis,
The Fuzztones,
Fat Boys,
Sun City Girls,
Fad Gadget,
Tomorrow,
The Last Poets,
New York Dolls,
Newcleus,
Ohio Players,
Chris Corsano,
Mars,
Louis and Bebe Barron,
Pharaoh Sanders and the Fire Engines,
Grandmaster Flash and the Furious Five,
Underground Resistance,
Lindisfarne,
Amon Düül,
Delta 5,
Art Ensemble Of Chicago,
It's A Beautiful Day,
Idris Muhammad,
Yazoo,
Youth Brigade,
Scion,
Harmonia,
Notorious BIG live in Amsterdam,
Guru Guru,
Bronski Beat,
Joey Negro,
Todd Rundgren,
The Techniques,
Gichy Dan,
Heavy D & The Boyz,
Jesper Dahlbäck,
Eric B and Rakim,
Connie Case,
Zapp,
Girls At Our Best!,
The Remains,
Brass Construction,
Soft Machine,
Aaron Thompson,
Basic Channel,
Rufus Thomas,
New Order,
Fela Kuti,
Spandau Ballet,
The Neon Judgement,
kango's stein massive,
Angels of Light & Akron/Family,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
JFA,
Erasure,
Pantytec,
Au Pairs,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.