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 Eritrea and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1960 to 1977.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Deadbeat to the techno kids.
I played it at the Spitz.
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 Vainqueur. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every The Cosmic Jokers record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin 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 marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Masters at Work,
The Red Krayola,
Outsiders,
Pagans,
Agitation Free,
Donny Hathaway,
The Misunderstood,
Ronnie Foster,
Man Eating Sloth,
Kas Product,
Trumans Water,
Rites of Spring,
Suicide,
Deepchord,
D'Angelo,
Soul Sonic Force,
Fad Gadget,
The United States of America,
The Associates,
Kerri Chandler,
Idris Muhammad,
The Doobie Brothers,
Alphaville,
Unwound,
Ken Boothe,
Liliput,
The Cosmic Jokers,
Sam Rivers,
Selector Dub Narcotic,
Main Source,
Marine Girls,
Jawbox,
a-ha,
Con Funk Shun,
Bob Dylan,
Loose Ends,
Larry & the Blue Notes,
Morten Harket,
Nico,
Wighnomy Brothers & Robag Wruhme,
Eyeless In Gaza,
John Cale,
Soulsonic Force,
Sad Lovers and Giants,
Monks,
Alton Ellis,
Ohio Players,
Freddie Wadling,
Tubeway Army,
Jacques Brel,
Heavy D & The Boyz,
Bang on a Can All-Stars,
Scratch Acid,
This Heat,
Subhumans,
Jeff Mills,
Jesper Dahlback,
The American Breed,
ABC,
Blake Baxter,
K-Klass,
Letta Mbulu,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.