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 Iraq and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Lagos 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 The Associates to the electroclash 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 Pet Shop Boys. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes 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 theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Glenn Branca,
Byron Stingily,
Strawberry Alarm Clock,
The United States of America,
The Move,
Pantytec,
Minnie Riperton,
Soulsonic Force,
K-Klass,
Warren Ellis,
London Community Gospel Choir,
Dave Gahan,
Adolescents,
Faust,
Bang on a Can All-Stars,
Joe Smooth,
Roxy Music,
Gang Starr,
The Doors,
Newcleus,
Tubeway Army,
Leonard Cohen,
Desert Stars,
The Offenders,
Bobby Sherman,
The Tremeloes,
Audionom,
Frankie Knuckles,
L. Decosne,
Jerry's Kids,
Skriet,
Public Enemy,
The Birthday Party,
Larry & the Blue Notes,
Bob Dylan,
Sällskapet,
T. Rex,
The Sisters of Mercy,
Japan,
Jacob Miller,
Marc Romboy vs. Booka Shade,
48th St. Collective,
Unwound,
Groovy Waters,
DJ Sneak,
Eric B and Rakim,
Avey Tare & Kría Brekkan,
Gian Franco Pienzio,
The Music Machine,
PIL,
The Cosmic Jokers,
the Association,
Avey Tare,
Ultra Naté,
De La Soul & Jungle Brothers,
Essential Logic,
Eddi Front,
B.T. Express,
The J.B.'s,
Silicon Teens,
The Black Dice,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.