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 Swaziland and from Paris.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Manila 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 Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Fad Gadget to the jazz kids.
I played it at the 40 Watt.
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 David Bowie. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Stetsasonic,
10cc,
In Retrospect,
Gian Franco Pienzio,
Funkadelic,
Man Parrish,
Lizzy Mercier Descloux,
Bluetip,
Los Fastidios,
Inner City,
Grandmaster Flash,
The Stooges,
CMW,
Kauko Röyhkä ja Narttu,
The Standells,
Scientists,
The West Coast Pop Art Experimental Band,
The Modern Lovers,
Eli Mardock,
Cymande,
The Move,
Johnny Osbourne,
Derrick May,
Avey Tare,
The Mighty Diamonds,
Joensuu 1685,
The Fire Engines,
Sex Pistols,
Boogie Down Productions,
The Offenders,
the Fania All-Stars,
Brass Construction,
Graham Central Station,
Avey Tare & Kría Brekkan,
Terrestrial Tones,
Young Marble Giants,
Outsiders,
The Music Machine,
Eyeless In Gaza,
Selector Dub Narcotic,
John Holt,
Rowland S Howard / Lydia Lunch,
Silicon Teens,
Echospace,
Black Bananas,
Throbbing Gristle,
Section 25,
Panda Bear,
Crash Course in Science,
Sad Lovers and Giants,
Josef K,
Neu!,
Eurythmics,
Mission of Burma,
The Smiths,
Amazonics,
The New Christs,
Gil Scott Heron,
June of 44,
Michelle Simonal,
Crispy Ambulance,
Fatback Band,
Moebius, Moebius, Moebius, Moebius.
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.