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 Guinea-Bissau and from Delhi.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Tehran 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Idris Muhammad to the funk 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 Tears for Fears. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron 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 chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
The Men They Couldn't Hang,
Prince Buster,
Bobbi Humphrey,
the Association,
Man Eating Sloth,
Duran Duran,
Heaven 17,
Donald Byrd,
Los Fastidios,
Neu!,
Terror Squad Feat. Camron,
Yusef Lateef,
the Swans,
Eric Dolphy,
Eurythmics,
Funkadelic,
The Gladiators,
Rekid,
10cc,
Goldenarms,
Girls At Our Best!,
Q65,
Malaria!,
Ultra Naté,
The Busters,
Aaron Thompson,
Drexciya,
Anakelly,
Art Ensemble Of Chicago,
Scientists,
Albert Ayler,
Minny Pops,
The Jesus and Mary Chain,
Todd Terry,
The United States of America,
Barry Ungar,
Johnny Clarke,
Pierre Henry,
Traffic Nightmare,
The Kinks,
Pulsallama,
Public Enemy,
The Music Machine,
Gil Scott-Heron and Jamie xx,
Dead Boys,
Matthew Bourne,
New Age Steppers,
Anthony Braxton,
Kas Product,
Joensuu 1685,
Unrelated Segments,
Fat Boys,
Alton Ellis,
Soul Sonic Force,
Newcleus,
Camouflage,
Interpol,
Sandy B,
Al Stewart,
Aswad,
Minnie Riperton,
Buzzcocks,
Amon Düül,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.