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 Panama and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lagos and Jakarta.
I'm losing my edge to the art-school Bologna 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Joe Finger to the techno kids.
I played it at the 40 Watt.
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 Motorama. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Liliput 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe 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 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Traffic Nightmare,
Brothers Johnson,
The Seeds,
Absolute Body Control,
Technova,
The Jesus and Mary Chain,
The Music Machine,
Archie Shepp,
Sound Behaviour,
The Stooges,
Stockholm Monsters,
Aloha Tigers,
Tropical Tobacco,
Major Organ And The Adding Machine,
Alison Limerick,
Young Marble Giants,
The Gories,
Idris Muhammad,
Inner City,
Rufus Thomas,
The Last Poets,
Kevin Saunderson,
Wire,
Robert Hood,
The Raincoats,
Mantronix,
The Velvet Underground,
Be Bop Deluxe,
The Barracudas,
Kings Of Tomorrow,
Manfred Mann's Earth Band,
X-Ray Spex,
Magazine,
Symarip,
Warren Ellis,
Swans,
The Techniques,
Altered Images,
Marine Girls,
X-102,
Nik Kershaw,
T.S.O.L.,
The Misunderstood,
Davy DMX,
The Trojans,
Eurythmics,
Notorious Big And Bone Thugs,
Erasure,
Lower 48,
ABBA,
Bob Dylan,
Sexual Harrassment,
Q65,
Glambeats Corp.,
Flamin' Groovies,
PIL,
Japan,
the Normal,
Avey Tare's Slasher Flicks,
Peter and Kerry,
the Sonics,
The Offenders,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.