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 Italy and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron 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 Fugazi to the disco 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 Ornette Coleman. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
James White and The Blacks,
The Move,
Notorious Big And Bone Thugs,
Morten Harket,
Lyres,
Skaos,
Altered Images,
Eurythmics,
the Slits,
The Motions,
Anthony Braxton,
Q65,
Can,
Flash Fearless,
Japan,
Rosa Yemen,
Tropical Tobacco,
The Mummies,
Selector Dub Narcotic,
Arthur Verocai,
Bronski Beat,
Avey Tare,
Marc Romboy vs. Booka Shade,
Swell Maps,
The Jesus and Mary Chain,
Manfred Mann's Earth Band,
MC5,
Los Fastidios,
Neu!,
The Zeros,
The Young Rascals,
Sly & The Family Stone,
The Velvet Underground,
Stiv Bators,
Fort Wilson Riot,
Derrick May,
Camouflage,
Derrick Morgan,
Agent Orange,
The Martian,
Bobby Hutcherson,
Minor Threat,
Sonny Sharrock,
Scan 7,
Erykah Badu,
Second Layer,
The Walker Brothers,
The Happenings,
The Alarm Clocks,
The Invisible,
Tim Buckley,
Dr. Dre and Snoop Doggy Dog,
FM Einheit,
Vaughan Mason & Crew,
Grey Daturas,
Idris Muhammad,
the Germs,
Roxy Music,
Peter Gordon & Love of Life Orchestra,
Toni Rubio,
EPMD,
Pole, Pole, Pole, Pole.
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.