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 Syria and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school Glasgow 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 Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Connie Case to the dance kids.
I played it at the Crocodile.
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 Kool Moe Dee. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar 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 a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
The Saints,
Godley & Creme,
Popol Vuh,
Tomorrow,
Roxy Music,
The Martian,
Sight & Sound,
Von Mondo,
The Trojans,
Mission of Burma,
Gary Puckett & The Union Gap,
Cybotron,
Joe Smooth,
These Immortal Souls,
Warsaw,
Josef K,
David Bowie,
Sexual Harrassment,
Bang On A Can,
James Chance & The Contortions,
Bootsy Collins,
Black Pus,
The Offenders,
The Kinks,
The Cramps,
Khruangbin,
The Dave Clark Five,
Shoche,
Gang of Four,
Andrew Ashong & Theo Parrish,
Thee Headcoats,
Rosa Yemen,
The Divine Comedy,
Sixth Finger,
Con Funk Shun,
Nik Kershaw,
Jandek,
Tim Buckley,
Joy Division,
Byron Stingily,
It's A Beautiful Day,
Barbara Tucker,
Organ,
Fifty Foot Hose,
Dennis Brown,
Eric Dolphy,
Gregory Isaacs,
The Standells,
Janne Schatter,
Funkadelic,
Justin Hinds & The Dominoes,
Bronski Beat,
Andrew Hill,
Motorama,
Freddie Wadling,
Eyeless In Gaza,
Deakin,
Jesper Dahlbäck,
Harry Pussy,
MDC,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.