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 Sri Lanka and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school London 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum 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 Jesper Dahlback to the rock 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 Gian Franco Pienzio. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar 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 mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Brick,
The Red Krayola,
Second Layer,
Public Image Ltd.,
Marshall Jefferson,
In Retrospect,
Lou Christie,
Al Stewart,
Ralphi Rosario,
The Skatalites,
Shoche,
Notorious BIG live in Amsterdam,
Electric Prunes,
Ultramagnetic MC's,
Robert Wyatt,
Tres Demented,
Terry Callier,
Lebanon Hanover,
James White and The Blacks,
Franke,
Symarip,
CMW,
Mary Jane Girls,
The Residents,
Sonny Sharrock,
Juan Atkins,
Rowland S Howard / Lydia Lunch,
Warsaw,
Tubeway Army,
Isaac Hayes,
Big Daddy Kane,
Scion,
Blancmange,
Vainqueur,
Sam Rivers,
Strawberry Alarm Clock,
This Heat,
JFA,
OOIOO,
AZ,
Gastr Del Sol,
DJ Sneak,
Dennis Brown,
The Zeros,
Scrapy,
Mars,
Country Teasers,
Tropical Tobacco,
The Neon Judgement,
Eyeless In Gaza,
Bobby Womack,
KRS-One,
the Swans,
the Bar-Kays,
Popol Vuh,
Siouxsie and the Banshees,
The Stooges,
Hashim,
The Happenings,
Ornette Coleman,
Urselle, Urselle, Urselle, Urselle.
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.