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 Luxembourg and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1974.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Shanghai 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe 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 Oblivians to the jazz kids.
I played it at the Hacienda.
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 Oppenheimer Analysis. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Von Mondo 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Can,
Derrick May,
A Flock of Seagulls,
Pole,
Joensuu 1685,
Vainqueur,
The Mummies,
John Foxx,
Scott Walker,
Grandmaster Flash,
The Sisters of Mercy,
Essential Logic,
The Misunderstood,
The Grass Roots,
Lakeside,
The Angels of Light,
Television,
The Flesh Eaters,
Boredoms,
Liliput,
Justin Hinds & The Dominoes,
U.S. Maple,
Lonnie Liston Smith,
Fluxion,
Magma,
Black Flag,
Ultravox,
The Gladiators,
Sarah Menescal,
Ponytail,
Robert Görl,
Flash Fearless,
Barrington Levy,
Surgeon,
Sly & The Family Stone,
The Fortunes,
Radio Birdman,
Idris Muhammad,
Buzzcocks,
David McCallum,
Byron Stingily,
Albert Ayler,
Trumans Water,
Ultra Naté,
Rhythim Is Rhythim,
Fela Kuti,
Dawn Penn,
Moss Icon,
The Sound,
Eddi Front,
Gang of Four,
The Busters,
the Bar-Kays,
Bill Wells,
Erykah Badu,
Deadbeat,
Lucky Dragons,
Man Eating Sloth,
Scratch Acid,
Spandau Ballet,
Supertramp,
The Last Poets,
Minutemen, Minutemen, Minutemen, Minutemen.
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.