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 Libya and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 Ubu practice in a loft in Cleveland.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Anthony Braxton to the punk 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 Oppenheimer Analysis. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Barclay James Harvest 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator 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 snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Radiohead,
Man Parrish,
Siouxsie and the Banshees,
Gil Scott-Heron and Jamie xx,
Schoolly D,
Deutsch Amerikanische Freundschaft,
Jesper Dahlbäck,
The Associates,
These Immortal Souls,
Max Romeo,
Visage,
Altered Images,
Rapeman,
Cameo,
Sister Nancy,
the Fania All-Stars,
Gregory Isaacs,
Gian Franco Pienzio,
Mr. Review,
Nation of Ulysses,
Jeru the Damaja,
Liaisons Dangereuses,
Basic Channel,
Delon & Dalcan,
The Smiths,
Funkadelic,
This Heat,
Cybotron,
Ultra Naté,
Spoonie Gee,
Sound Behaviour,
E-Dancer,
Art Ensemble Of Chicago,
The Moody Blues,
Camron Feat. Jay Z And Juelz,
Ituana,
10cc,
Gang Starr,
Soft Cell,
Radiopuhelimet,
Faust,
Agitation Free,
K-Klass,
Hot Snakes,
Swans,
Radio Birdman,
The Durutti Column,
Hardrive,
The Grass Roots,
Janne Schatter,
Barry Ungar,
Gang Green,
OOIOO,
KRS-One,
Stockholm Monsters,
X-Ray Spex,
Bobby Womack,
The Kinks,
Chrome,
The Angels of Light,
Oneida, Oneida, Oneida, Oneida.
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.