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 Jordan and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Paris 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Avey Tare's Slasher Flicks to the rock kids.
I played it at the Astoria.
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 Bronski Beat. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a marimba 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 sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
The J.B.'s,
Harry Pussy,
Bang on a Can All-Stars,
The Names,
The Gap Band,
Icehouse,
Harpers Bizarre,
Peter & Gordon,
Eric B and Rakim,
Easy Going,
Model 500,
Scott Walker,
Tomorrow,
Art Ensemble Of Chicago,
Louis and Bebe Barron,
Larry & the Blue Notes,
Neil Young & Crazy Horse,
The Barracudas,
Matthew Halsall,
Bill Near,
Joey Negro,
Au Pairs,
CMW,
Crispian St. Peters,
Depeche Mode,
Terror Squad Feat. Camron,
Fat Boys,
The Cosmic Jokers,
the Soft Cell,
The Mojo Men,
Ten City,
The Electric Prunes,
Pete Rock & C.L. Smooth,
Country Teasers,
Barbara Tucker,
The Selecter,
Suburban Knight,
Lungfish,
Delon & Dalcan,
Public Image Ltd.,
Sällskapet,
Radiohead,
The Dead C,
Dawn Penn,
Lyres,
Lonnie Liston Smith,
Scrapy,
Kauko Röyhkä ja Narttu,
Crime,
The Motions,
Sticky Fingaz feat. Raekwon,
Eurythmics,
DeepChord presents Echospace,
Danielle Patucci,
Curtis Mayfield,
Kerri Chandler,
The Skatalites,
Goldenarms,
Monolake,
Essential Logic,
Idris Muhammad,
Parry Music,
Michelle Simonal,
Malaria!, Malaria!, Malaria!, Malaria!.
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.