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 Algeria and from Glasgow.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 rhodes 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 Television to the punk kids.
I played it at the Troubador.
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 Dead Boys. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator 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 snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Malaria!,
Graham Central Station,
Visage,
Red Lorry Yellow Lorry,
Bauhaus,
KRS-One,
Scott Walker + Sunn O))),
Chris Corsano,
Underground Resistance,
Avey Tare's Slasher Flicks,
The Count Five,
Marcia Griffiths,
Stockholm Monsters,
Lalann,
Toni Rubio,
Moss Icon,
Ohio Players,
De La Soul & Jungle Brothers,
Marc Almond,
Jerry's Kids,
Unrelated Segments,
Davy DMX,
Accadde A,
Hoover,
Chris & Cosey,
X-101,
Arthur Verocai,
The Litter,
Blake Baxter,
Lonnie Liston Smith,
Terrestrial Tones,
Sun Ra Arkestra,
Strawberry Alarm Clock,
The Fuzztones,
Q and Not U,
Section 25,
Television Personalities,
Avey Tare,
Wire,
Oblivians,
Erasure,
The Cramps,
Lalo Schifrin,
Nas,
Young Marble Giants,
Arcadia,
Ten City,
Bill Near,
Pharoah Sanders,
The Monochrome Set,
La Düsseldorf,
EPMD,
Neu!,
Jesper Dahlbäck,
The Monks,
Colin Newman,
Mark Hollis,
Basic Channel,
Sight & Sound,
The Slits,
X-Ray Spex,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.