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 Dominican Republic and from Shanghai.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Babytalk to the dance 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 Joy Division. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Cybotron,
Arcadia,
Kerrie Biddell,
The Mighty Diamonds,
Masters at Work,
Jerry Gold Smith,
Lyres,
Bill Wells,
Dorothy Ashby,
The Residents,
Harpers Bizarre,
Tim Buckley,
Sam Rivers,
Adolescents,
Ornette Coleman,
Big Daddy Kane,
Amon Düül II,
Kool G Rap & DJ Polo,
Lou Reed & John Cale,
The Birthday Party,
Anthony Braxton,
The Dave Clark Five,
Arab on Radar,
Yellowson,
The Peanut Butter Conspiracy,
These Immortal Souls,
De La Soul & Jungle Brothers,
Moss Icon,
Grandmaster Flash,
Magazine,
The Durutti Column,
Lizzy Mercier Descloux,
Black Moon,
Subhumans,
The Cowsills,
The Offenders,
Peter & Gordon,
Angels of Light & Akron/Family,
Thee Headcoats,
Erasure,
Audionom,
Main Source,
Boredoms,
The New Christs,
Ponytail,
Teenage Jesus and the Jerks,
Tommy Roe,
Lalo Schifrin,
Danielle Patucci,
Terry Callier,
Grauzone,
Can,
X-101,
The Toasters,
The Slackers,
Popol Vuh,
Boz Scaggs,
The Count Five,
Sandy B,
Circle Jerks,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.