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 Mauritius and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1966 to 1977.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Hong Kong 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 Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Evens to the jazz 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 Silicon Teens. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Todd Rundgren record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Simply Red,
Junior Murvin,
Rhythim Is Rhythim,
Yaz,
Big Daddy Kane,
Funky Four + One,
Swell Maps,
Shoche,
Rufus Thomas,
James Chance & The Contortions,
The Birthday Party,
Youth Brigade,
Curtis Mayfield,
It's A Beautiful Day,
Delon & Dalcan,
Theoretical Girls,
Kas Product,
Talk Talk,
The Misunderstood,
Dr. Dre and Snoop Doggy Dog,
The Black Dice,
MDC,
Royal Trux,
The Blackbyrds,
Dual Sessions,
Joyce Sims,
The Cosmic Jokers,
Judy Mowatt,
Delta 5,
The Knickerbockers,
Lalo Schifrin,
Bill Wells,
Nils Olav,
Livin' Joy,
Harry Pussy,
The Blues Magoos,
The Pop Group,
The Move,
Angels of Light & Akron/Family,
Bang On A Can,
Liliput,
Camouflage,
The Grass Roots,
Underground Resistance,
Moss Icon,
Bauhaus,
AZ,
Marshall Jefferson,
The Saints,
Deadbeat,
The Cramps,
Malaria!,
Black Pus,
June of 44,
Franke,
Arthur Verocai,
The Dave Clark Five,
Kerri Chandler,
The Monks,
Heaven 17,
Swans, Swans, Swans, Swans.
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.