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 Uganda and from New York.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Taipei.
I'm losing my edge to the art-school Columbus 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 Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Lalann to the disco 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 The Velvet Underground. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron 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,
10cc,
Swans,
E-Dancer,
The Monochrome Set,
Justin Hinds & The Dominoes,
Eyeless In Gaza,
Rhythm & Sound,
Section 25,
The Remains,
Jacques Brel,
Mad Mike,
Howard Jones,
Fifty Foot Hose,
Mo-Dettes,
Andrew Ashong & Theo Parrish,
DJ Style,
The Electric Prunes,
Iggy Pop,
Lebanon Hanover,
Marine Girls,
Rapeman,
Public Image Ltd.,
The Sisters of Mercy,
The Raincoats,
Neu!,
The Peanut Butter Conspiracy,
Pierre Henry,
Notorious Big And Bone Thugs,
Derrick May,
Tom Boy,
OOIOO,
Dawn Penn,
Fort Wilson Riot,
Roxy Music,
L. Decosne,
Animal Collective,
Monolake,
Fear,
Goldenarms,
The Sonics,
Larry & the Blue Notes,
Johnny Clarke,
Strawberry Alarm Clock,
The Young Rascals,
Mars,
Qualms,
Beasts of Bourbon,
Altered Images,
Liliput,
Organ,
Henry Cow,
The Slits,
Shuggie Otis,
Index,
The Blackbyrds,
Donald Byrd,
Pagans,
Darondo,
Ultra Naté,
AZ,
Robert Wyatt,
Soul II Soul,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.