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 Tehran.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school Milan 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 Throbbing Gristle practice in a loft in London.
I was working on the snare 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 Pierre Henry to the punk kids.
I played it at the 40 Watt.
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 The Evens. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Sexual Harrassment 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
James Chance & The Contortions,
Erykah Badu,
Sandy B,
Traffic Nightmare,
Smog,
Kool G Rap & DJ Polo,
Throbbing Gristle,
Lou Reed & John Cale,
Dual Sessions,
Bootsy's Rubber Band,
Thinking Fellers Union Local 282,
Scientists,
The Smoke,
Sun Ra,
Radiohead,
the Normal,
Swans,
Aaron Thompson,
Matthew Halsall,
Qualms,
Art Ensemble Of Chicago,
The New Christs,
The Associates,
Con Funk Shun,
Frankie Knuckles,
The Remains,
The American Breed,
Donny Hathaway,
Neu!,
Matthew Bourne,
Duran Duran,
Barbara Tucker,
Man Eating Sloth,
Whodini,
Minor Threat,
Icehouse,
Jerry's Kids,
K-Klass,
John Coltrane,
Erasure,
Cheater Slicks,
Bobby Byrd,
Nick Cave & The Bad Seeds,
Funkadelic,
Sugar Minott,
Supertramp,
Unrelated Segments,
Vaughan Mason & Crew,
Idris Muhammad,
The Wake,
Eric Copeland,
Tommy Roe,
Jacob Miller,
Dawn Penn,
Joe Finger,
The Slackers,
Pere Ubu,
Basic Channel,
Graham Central Station,
Mary Jane Girls,
DNA,
Visage, Visage, Visage, Visage.
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.