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 Mozambique and from Tokyo.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Jakarta 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Lou Reed to the dance 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 Public Enemy. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Groovy Waters,
Yellowson,
Bang On A Can,
Mandrill,
Hot Snakes,
Matthew Bourne,
Lyres,
Stetsasonic,
Dual Sessions,
Terry Callier,
The Last Poets,
Electric Light Orchestra,
Black Moon,
Quantec,
Nico,
Crash Course in Science,
Cymande,
Eurythmics,
Lee Hazlewood,
Derrick May,
Byron Stingily,
Tubeway Army,
Roxette,
Depeche Mode,
Jerry Gold Smith,
Fat Boys,
Magma,
Vladislav Delay,
the Slits,
Kauko Röyhkä ja Narttu,
Half Japanese,
Banda Bassotti,
New York Dolls,
Sonny Sharrock,
Simply Red,
Ultramagnetic MC's,
Sällskapet,
Bill Wells,
Skriet,
The Selecter,
Gian Franco Pienzio,
Moss Icon,
Kerri Chandler,
Lizzy Mercier Descloux,
Johnny Clarke,
Reuben Wilson,
Alice Coltrane,
John Holt,
Donny Hathaway,
Sight & Sound,
The Pop Group,
Lakeside,
Jeff Lynne,
The United States of America,
The Cowsills,
Index,
Marc Almond,
Harpers Bizarre,
Infiniti,
Deutsch Amerikanische Freundschaft,
The Martian, The Martian, The Martian, The Martian.
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.