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 Congo and from Stockholm.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1970.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Delhi 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Be Bop Deluxe to the jazz kids.
I played it at the Spitz.
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 Tubeway Army. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Khruangbin 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Crash Course in Science,
Reuben Wilson,
The Sisters of Mercy,
Oblivians,
Crime,
The Associates,
the Swans,
The Moody Blues,
The Smiths,
The Five Americans,
The Blues Magoos,
Das Ding,
Cal Tjader,
Harmonia,
The Doors,
Organ,
Whodini,
La Düsseldorf,
The J.B.'s,
Wighnomy Brothers & Robag Wruhme,
Aural Exciters,
Piero Umiliani,
Byron Stingily,
Bang on a Can All-Stars,
F. McDonald,
The Monks,
Magazine,
UT,
Nation of Ulysses,
Joy Division,
Deadbeat,
A Certain Ratio,
Andrew Hill,
The Slackers,
Max Romeo,
Siouxsie and the Banshees,
The Velvet Underground,
Don Cherry,
The Standells,
The American Breed,
Juan Atkins,
FM Einheit,
Marmalade,
The Wake,
The Music Machine,
Grauzone,
Erykah Badu,
AZ,
Lakeside,
Fifty Foot Hose,
Gang Green,
Visionaries,LMNO, T- Love & Iriscience,
Liaisons Dangereuses,
The Fuzztones,
Drive Like Jehu,
Inner City,
ABC,
Black Sheep,
In Retrospect,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.