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 Lebanon and from Mexico City.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school New York 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Roxy Music to the dance kids.
I played it at CBGB's.
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 The Standells. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal funk 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 a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Nas,
Saccharine Trust,
Bootsy Collins,
The Count Five,
The Gories,
The J.B.'s,
The Fuzztones,
China Crisis,
Loose Ends,
Funky Four + One,
Magma,
Organ,
Letta Mbulu,
8 Eyed Spy,
Lafayette Afro Rock Band,
Kenny Larkin,
X-Ray Spex,
Kurtis Blow,
Animal Collective,
Gabor Szabo,
Model 500,
Popol Vuh,
Scion,
Girls At Our Best!,
Shuggie Otis,
Excepter,
Visionaries,LMNO, T- Love & Iriscience,
Arthur Verocai,
Spoonie Gee,
Wolf Eyes,
Sex Pistols,
This Heat,
The Red Krayola,
James Chance & The Contortions,
R.M.O.,
Scratch Acid,
Minutemen,
Ultravox,
Lungfish,
Jerry Gold Smith,
Johnny Osbourne,
Cymande,
T. Rex,
Theoretical Girls,
Fat Boys,
Gang Gang Dance,
Jacques Brel,
Pantytec,
Toni Rubio,
Gang Starr,
Grandmaster Flash and the Furious Five,
Nick Cave & The Bad Seeds,
Boogie Down Productions,
Rosa Yemen,
Louis and Bebe Barron,
Harmonia,
The Moleskins,
Connie Case,
The Human League,
The Zeros,
Jesper Dahlbäck,
Maleditus Sound,
Goldenarms,
Make Up, Make Up, Make Up, Make Up.
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.