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 Sudan and from New York.
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 1961 to 1973.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 Big Star practice in a loft in Memphis.
I was working on the sitar 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 Flamin' Groovies to the funk kids.
I played it at the Astoria.
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 Hardrive. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Selector Dub Narcotic 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer 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 synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Justin Hinds & The Dominoes,
Thompson Twins,
Das Ding,
Cymande,
Soulsonic Force,
The Young Rascals,
Siglo XX,
Tommy Roe,
Swans,
Blake Baxter,
T.S.O.L.,
DJ Sneak,
John Foxx,
The Knickerbockers,
Excepter,
Gabor Szabo,
Niagra,
The Busters,
Selector Dub Narcotic,
X-101,
Scientists,
Absolute Body Control,
Soft Machine,
R.M.O.,
The Cramps,
Andrew Ashong & Theo Parrish,
Spoonie Gee,
It's A Beautiful Day,
Chris & Cosey,
Pere Ubu,
Cameo,
Crooked Eye,
Can,
The Trojans,
Eyeless In Gaza,
the Germs,
Arthur Verocai,
Skriet,
Lindisfarne,
The United States of America,
Rotary Connection,
The Slackers,
Fifty Foot Hose,
Main Source,
Cal Tjader,
the Slits,
Q and Not U,
Althea and Donna,
Visionaries,LMNO, T- Love & Iriscience,
Parry Music,
Altered Images,
Von Mondo,
Bill Wells,
Make Up,
Marmalade,
Skaos,
Deadbeat,
The Dirtbombs,
Sex Pistols,
Fat Boys,
Susan Cadogan,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.