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 Trinidad & Tobago and from Johannesburg.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Toronto and Delhi.
I'm losing my edge to the art-school Lille 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the oboe 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 Scrapy to the funk kids.
I played it at the Astoria.
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 Faraquet. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Reuben Wilson 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 rhodes 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 marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Pantaleimon,
the Normal,
Soft Machine,
The Techniques,
The Cramps,
Scion,
James White and The Blacks,
Judy Mowatt,
Minny Pops,
Aural Exciters,
Beasts of Bourbon,
Minor Threat,
Orchestral Manoeuvres in the Dark,
Heaven 17,
David McCallum,
The Flesh Eaters,
Davy DMX,
Erykah Badu,
Infiniti,
Isaac Hayes,
Scratch Acid,
Deutsch Amerikanische Freundschaft,
Black Bananas,
Man Eating Sloth,
Fad Gadget,
Boogie Down Productions,
Mandrill,
Todd Terry,
Gregory Isaacs,
Albert Ayler,
Visionaries,LMNO, T- Love & Iriscience,
Bob Dylan,
Kings Of Tomorrow,
Clear Light,
Excepter,
Lou Reed & John Cale,
Simply Red,
Soul II Soul,
Y Pants,
X-Ray Spex,
Captain Beefheart & His Magic Band,
The Move,
MDC,
K-Klass,
DJ Sneak,
Slave,
LL Cool J,
The Barracudas,
Richard Hell and the Voidoids,
The Fuzztones,
Sex Pistols,
Outsiders,
Sixth Finger,
John Cale,
Japan,
Hashim,
Talk Talk,
Neil Young,
Organ,
Magazine, Magazine, Magazine, Magazine.
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.