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 Palau and from Salvador.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Beijing and Delhi.
I'm losing my edge to the art-school Philadelphia 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 Wire practice in a loft in Watford.
I was working on the sitar 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 Sun Ra Arkestra to the dance kids.
I played it at the Crocodile.
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 James Chance & The Contortions. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal jazz 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 a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
48th St. Collective,
Erasure,
Desert Stars,
Maleditus Sound,
the Fania All-Stars,
The Golliwogs,
Alice Coltrane,
Lou Reed,
Sällskapet,
Spandau Ballet,
Absolute Body Control,
Michelle Simonal,
the Germs,
Porter Ricks,
Yaz,
Ultravox,
Ralphi Rosario,
Pierre Henry,
Deakin,
The Blues Magoos,
Echospace,
Goldenarms,
Joensuu 1685,
ABC,
The Misunderstood,
Alphaville,
Dawn Penn,
Eden Ahbez,
Kerri Chandler,
Anakelly,
T.S.O.L.,
PIL,
The Mighty Diamonds,
Marmalade,
F. McDonald,
Robert Hood,
Grandmaster Flash,
Quando Quango,
One Last Wish,
E-Dancer,
The Cramps,
Angry Samoans,
Quadrant,
The Fuzztones,
Joe Smooth,
Rapeman,
Kauko Röyhkä ja Narttu,
Wally Richardson,
Parry Music,
Harpers Bizarre,
Electric Light Orchestra,
The Black Dice,
Isaac Hayes,
Lizzy Mercier Descloux,
In Retrospect,
Dorothy Ashby,
Barrington Levy,
Theoretical Girls,
Minnie Riperton,
Stockholm Monsters,
Ohio Players,
Warsaw,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.