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 Botswana and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Madrid.
I'm losing my edge to the art-school Tehran 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 Lou Reed to the grime kids.
I played it at Trash.
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 Gerry Rafferty tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Zero Boys,
Derrick Morgan,
The Fortunes,
Black Bananas,
Masters at Work,
Delon & Dalcan,
KRS-One,
Black Flag,
Brass Construction,
Minnie Riperton,
Los Fastidios,
the Normal,
Junior Murvin,
Graham Central Station,
a-ha,
The Sonics,
Aswad,
Cabaret Voltaire,
Funky Four + One,
Dr. Dre and Snoop Doggy Dog,
Shoche,
Scion,
The New Christs,
John Holt,
Kaleidoscope,
Prince Buster,
Public Image Ltd.,
Amazonics,
Country Teasers,
Monolake,
The Grass Roots,
Television Personalities,
Youth Brigade,
The Beau Brummels,
Bob Dylan,
Radio Birdman,
Strawberry Alarm Clock,
Rowland S Howard / Lydia Lunch,
Pete Rock & C.L. Smooth,
Au Pairs,
The Dead C,
Piero Umiliani,
Peter & Gordon,
Eyeless In Gaza,
The Victims,
Funkadelic,
The Sisters of Mercy,
Harmonia,
Soul Sonic Force,
Tommy Roe,
Excepter,
Rhythim Is Rhythim,
Quantec,
The Skatalites,
Eli Mardock,
Sex Pistols,
Grauzone,
Lalann,
Mr. Review,
the Sonics,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.