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 Bulgaria and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Salvador 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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin 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 Camron Feat. Memphis Bleek And Beenie Seigel to the rap 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 Archie Shepp. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Janne Schatter,
Sun City Girls,
Bobby Hutcherson,
Sticky Fingaz feat. Raekwon,
Jeff Mills,
Black Sheep,
Kerri Chandler,
Gary Puckett & The Union Gap,
The West Coast Pop Art Experimental Band,
Khruangbin,
Saccharine Trust,
The Monks,
Scratch Acid,
Vainqueur,
Rhythm & Sound,
Young Marble Giants,
The Litter,
Dr. Dre and Snoop Doggy Dog,
Can,
OOIOO,
Barclay James Harvest,
The Standells,
Clear Light,
Kauko Röyhkä ja Narttu,
David Bowie,
Oppenheimer Analysis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Harpers Bizarre,
Derrick May,
Todd Terry,
PIL,
Reuben Wilson,
the Normal,
Stiv Bators,
Peter and Kerry,
Vaughan Mason & Crew,
MDC,
Be Bop Deluxe,
Pantaleimon,
Flash Fearless,
The Detroit Cobras,
Gerry Rafferty,
Accadde A,
Aaron Thompson,
Amon Düül II,
The Wake,
Darondo,
Cameo,
John Holt,
Radiopuhelimet,
Sonny Sharrock,
Q and Not U,
John Lydon,
Max Romeo,
Dark Day,
Dennis Brown,
The Busters,
Marc Romboy vs. Booka Shade,
Funky Four + One,
Parry Music,
Masters at Work,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.