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 South Africa and from Tehran.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 Wire practice in a loft in Watford.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Gichy Dan to the punk kids.
I played it at the Spitz.
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 Black Flag. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet 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 arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Scan 7,
Lalo Schifrin,
Roy Ayers,
In Retrospect,
Piero Umiliani,
Index,
Lower 48,
Sugar Minott,
Ituana,
F. McDonald,
The Young Rascals,
Joyce Sims,
Interpol,
Jandek,
Model 500,
T. Rex,
James White and The Blacks,
Mad Mike,
Letta Mbulu,
The Fortunes,
Fear,
The J.B.'s,
The Standells,
The Sound,
Dorothy Ashby,
Terry Callier,
The United States of America,
Bill Wells,
The Dave Clark Five,
Yazoo,
Sällskapet,
Rekid,
The Cramps,
Johnny Clarke,
The Angels of Light,
A Flock of Seagulls,
Prince Buster,
Ken Boothe,
Section 25,
Accadde A,
The Toasters,
Dennis Brown,
Los Fastidios,
John Cale,
Warsaw,
The Chocolate Watch Band,
World's Most,
Public Image Ltd.,
Drive Like Jehu,
The Offenders,
Monks,
Gang Green,
Liaisons Dangereuses,
Chris & Cosey,
The Jesus and Mary Chain,
KRS-One,
Thinking Fellers Union Local 282,
The Stooges,
The Vogues,
Eric Copeland,
Siglo XX,
The Move, The Move, The Move, The Move.
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.