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 Marshall Islands and from Bologna.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Madrid 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 theremin sounds with much patience.
I was there when David Bowie 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 Procol Harum to the rap 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 The Techniques. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Underground Resistance 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Yazoo,
Arthur Verocai,
Major Organ And The Adding Machine,
Boredoms,
Minnie Riperton,
A Flock of Seagulls,
Byron Stingily,
Sly & The Family Stone,
Panda Bear,
Delta 5,
Echo & the Bunnymen,
Accadde A,
June of 44,
Donny Hathaway,
Kauko Röyhkä ja Narttu,
Jandek,
the Normal,
Parry Music,
Soft Cell,
Idris Muhammad,
John Holt,
Dave Gahan,
Agent Orange,
Schoolly D,
Josef K,
Ralphi Rosario,
Marvin Gaye,
Crime,
David Axelrod,
Lightning Bolt,
Aural Exciters,
The Selecter,
Anakelly,
Little Man,
Jacques Brel,
B.T. Express,
The New Christs,
ABC,
Joe Smooth,
Freddie Wadling,
Lalo Schifrin,
De La Soul & Jungle Brothers,
Michelle Simonal,
The Doors,
Bob Dylan,
Symarip,
Clear Light,
Grauzone,
The Young Rascals,
Marine Girls,
Frankie Knuckles,
Kings Of Tomorrow,
Scratch Acid,
The Human League,
The Divine Comedy,
Derrick May,
Warren Ellis,
The Blues Magoos,
Ash Ra Tempel,
Charles Mingus,
Notorious BIG live in Amsterdam,
Drexciya, Drexciya, Drexciya, Drexciya.
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.