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 Algeria and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1978.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Black Moon to the funk kids.
I played it at the Roxy.
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 Donald Byrd. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Knickerbockers,
Eddi Front,
New Age Steppers,
Porter Ricks,
Schoolly D,
Tomorrow,
DNA,
Loose Ends,
Letta Mbulu,
X-101,
Pulsallama,
Joe Finger,
Pete Rock & C.L. Smooth,
Quando Quango,
U.S. Maple,
Pantytec,
Wasted Youth,
Godley & Creme,
Dual Sessions,
Subhumans,
T. Rex,
the Bar-Kays,
Deepchord,
The United States of America,
Neil Young & Crazy Horse,
The Residents,
Warsaw,
The Doors,
Niagra,
Swell Maps,
Strawberry Alarm Clock,
Sam Rivers,
The Sonics,
Monolake,
Amazonics,
Symarip,
Michelle Simonal,
David McCallum,
N.O.R.E. Featuring Pharrell,
Essential Logic,
Gian Franco Pienzio,
Kerrie Biddell,
Nick Fraelich,
The Techniques,
Judy Mowatt,
Funkadelic,
Nas,
The Moleskins,
Grandmaster Flash,
Lalo Schifrin,
Bobby Hutcherson,
Captain Beefheart & His Magic Band,
Boredoms,
Section 25,
PIL,
One Last Wish,
Public Enemy,
Fluxion,
Saccharine Trust,
OOIOO, OOIOO, OOIOO, OOIOO.
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.