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 Greece and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1978.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Bad Manners to the jazz 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 Roy Ayers Ubiquity. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every The Mummies record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 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 harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Bush Tetras,
Unrelated Segments,
Visage,
Circle Jerks,
Amazonics,
Saccharine Trust,
Flipper,
The Sonics,
Yazoo,
Marcia Griffiths,
Aloha Tigers,
Black Bananas,
a-ha,
Accadde A,
Sister Nancy,
Crime,
The Peanut Butter Conspiracy,
AZ,
Eyeless In Gaza,
Peter & Gordon,
Rotary Connection,
The Smiths,
Mad Mike,
Avey Tare's Slasher Flicks,
Television Personalities,
JFA,
Hasil Adkins,
X-Ray Spex,
Yellowson,
The Mojo Men,
Rosa Yemen,
Major Organ And The Adding Machine,
De La Soul & Jungle Brothers,
Todd Terry,
Pharoah Sanders,
Lafayette Afro Rock Band,
Eurythmics,
John Cale,
Reagan Youth,
The J.B.'s,
The Pop Group,
Aural Exciters,
Bronski Beat,
The Fuzztones,
London Community Gospel Choir,
Cymande,
The Red Krayola,
Roy Ayers,
The Real Kids,
Procol Harum,
Magazine,
Suburban Knight,
cv313,
Boogie Down Productions,
Mary Jane Girls,
Beasts of Bourbon,
Schoolly D,
Quantec,
Fugazi, Fugazi, Fugazi, Fugazi.
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.