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 Somalia and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Sao Paulo 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord 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 Frankie Knuckles to the crunk kids.
I played it at the Troubador.
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 Eve St. Jones. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a mellotron 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 spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Country Teasers,
The Slits,
Hasil Adkins,
The Velvet Underground,
Whodini,
The Smiths,
Tomorrow,
Oppenheimer Analysis,
Ornette Coleman,
Sarah Menescal,
JFA,
Patti Smith,
Chris & Cosey,
The Raincoats,
Zero Boys,
Joyce Sims,
Teenage Jesus and the Jerks,
Connie Case,
Duran Duran,
The Cosmic Jokers,
Rod Modell,
Franke,
The Men They Couldn't Hang,
Matthew Bourne,
Aural Exciters,
The Red Krayola,
ABBA,
The Fugs,
The Five Americans,
Average White Band,
Livin' Joy,
Television Personalities,
Harry Pussy,
Bush Tetras,
Rotary Connection,
Hoover,
The Birthday Party,
The Martian,
The Mummies,
The Motions,
Royal Trux,
Donald Byrd,
Flamin' Groovies,
John Coltrane,
Vaughan Mason & Crew,
Marc Almond,
Lyres,
Unwound,
Thinking Fellers Union Local 282,
Ken Boothe,
The Dave Clark Five,
Gang Gang Dance,
The Seeds,
Byron Stingily,
It's A Beautiful Day,
Echospace,
Echo & the Bunnymen,
Rakim,
Popol Vuh,
Crispian St. Peters,
Deutsch Amerikanische Freundschaft,
The Last Poets,
Dark Day, Dark Day, Dark Day, Dark Day.
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.