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 Iran and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 Charles Mingus to the crunk kids.
I played it at Trash.
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 Sunsets and Hearts. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Trumans Water record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Quadrant,
Bronski Beat,
Tres Demented,
Amon Düül II,
June of 44,
Cybotron,
Mad Mike,
Siouxsie and the Banshees,
Albert Ayler,
Kango’s Stein Massive,
Terry Callier,
Ultramagnetic MC's,
Animal Collective,
Warsaw,
48th St. Collective,
Warren Ellis,
Freddie Wadling,
Cabaret Voltaire,
Traffic Nightmare,
Jimmy McGriff,
Groovy Waters,
Aswad,
Thinking Fellers Union Local 282,
Deadbeat,
Alison Limerick,
The Modern Lovers,
Country Joe & The Fish,
Inner City,
Pere Ubu,
Bluetip,
Major Organ And The Adding Machine,
ABBA,
Rotary Connection,
The Searchers,
Glenn Branca,
Gang of Four,
Technova,
The Cure,
Pierre Henry,
Ossler,
Pulsallama,
Marmalade,
The J.B.'s,
Graham Central Station,
Moebius,
Wolf Eyes,
Sixth Finger,
Jesper Dahlback,
JFA,
Sonic Youth,
The Velvet Underground,
Super Lover Cee & Casanova Rud,
Richard Hell and the Voidoids,
Max Romeo,
The Music Machine,
New Age Steppers,
Supertramp,
The Techniques,
The Sound,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.