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 Austria and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Halifax 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Ultra Naté to the grunge 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 Fear. All the underground hits.
All New Order tracks. I heard you have a vinyl of every John Holt 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Bizarre Inc.,
Joe Smooth,
This Heat,
Slick Rick,
R.M.O.,
The American Breed,
Little Man,
Leonard Cohen,
The Seeds,
The Sisters of Mercy,
EPMD,
Warsaw,
The Blackbyrds,
Malaria!,
Susan Cadogan,
Manfred Mann's Earth Band,
Sugar Minott,
Ossler,
The Slits,
Delta 5,
Organ,
Scratch Acid,
Marmalade,
Man Eating Sloth,
Rhythim Is Rhythim,
Fort Wilson Riot,
Crooked Eye,
The Dead C,
F. McDonald,
The New Christs,
The Blues Magoos,
Hot Snakes,
Orchestral Manoeuvres in the Dark,
Intrusion,
Japan,
X-102,
David Axelrod,
The Red Krayola,
Icehouse,
Cecil Taylor,
Second Layer,
Gil Scott-Heron & Brian Jackson,
Bobby Sherman,
Wighnomy Brothers & Robag Wruhme,
Yellowson,
The Moody Blues,
PIL,
Desert Stars,
Adolescents,
Von Mondo,
KRS-One,
Ultimate Spinach,
Fat Boys,
Louis and Bebe Barron,
The Litter,
Kauko Röyhkä ja Narttu,
Swell Maps,
Pierre Henry,
Rakim,
Brothers Johnson,
Basic Channel,
Audionom, Audionom, Audionom, Audionom.
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.