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 South Sudan and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Stockholm 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Andrew Hill to the dance 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 Gong. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
DNA,
The Busters,
Saccharine Trust,
Maurizio,
Max Romeo,
Aaron Thompson,
Crispian St. Peters,
Outsiders,
Cabaret Voltaire,
Silicon Teens,
Chris Corsano,
Slave,
Larry & the Blue Notes,
Jeru the Damaja,
Index,
The Skatalites,
Gil Scott-Heron & Brian Jackson,
Accadde A,
Guru Guru,
The J.B.'s,
Fifty Foot Hose,
Altered Images,
Harpers Bizarre,
Mary Jane Girls,
Von Mondo,
Monks,
Byron Stingily,
DeepChord presents Echospace,
Soulsonic Force,
Stiv Bators,
KRS-One,
Andrew Ashong & Theo Parrish,
Half Japanese,
Richard Hell and the Voidoids,
Sun Ra,
The Seeds,
Henry Cow,
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Skarface,
Camron Feat. Memphis Bleek And Beenie Seigel,
Traffic Nightmare,
The Blues Magoos,
AZ,
Minutemen,
F. McDonald,
Jawbox,
Schoolly D,
Pantytec,
Bang on a Can All-Stars,
Pierre Henry,
Kango’s Stein Massive,
Rhythm & Sound,
Excepter,
Negative Approach,
Chris & Cosey,
These Immortal Souls,
Dead Boys,
D'Angelo,
Television Personalities,
MC5, MC5, MC5, MC5.
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.