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 Nicaragua and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Seoul and Cairo.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 The Fire Engines to the crunk kids.
I played it at Trash.
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 Selector Dub Narcotic. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Severed Heads,
Fluxion,
the Association,
Electric Prunes,
The Index,
Susan Cadogan,
The Saints,
Tom Boy,
Liaisons Dangereuses,
U.S. Maple,
Gregory Isaacs,
Flash Fearless,
Jacques Brel,
Interpol,
Bill Wells,
the Slits,
D'Angelo,
Pantaleimon,
Cybotron,
Talk Talk,
David Axelrod,
Thompson Twins,
Bobby Sherman,
Bootsy's Rubber Band,
DJ Sneak,
The Litter,
Gil Scott-Heron & Brian Jackson,
Anakelly,
Gichy Dan,
Art Ensemble Of Chicago,
The Misunderstood,
Clear Light,
These Immortal Souls,
The Five Americans,
Camberwell Now,
Wolf Eyes,
the Sonics,
New Order,
The Chocolate Watch Band,
Animal Collective,
The Seeds,
Deepchord,
Grauzone,
Letta Mbulu,
Organ,
Public Enemy,
Sam Rivers,
Stiv Bators,
Althea and Donna,
The Durutti Column,
Soft Machine,
Boredoms,
The Standells,
Frankie Knuckles,
Rufus Thomas,
Jerry's Kids,
Warren Ellis,
Echospace,
ABC,
Colin Newman,
Minnie Riperton,
Alison Limerick,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.