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 Libya and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1973.
I'm losing my edge.
To all the kids in Portland and Delhi.
I'm losing my edge to the art-school Columbus 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator 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 Liaisons Dangereuses to the dance kids.
I played it at CBGB's.
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 Minor Threat. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Yusef Lateef,
Arcadia,
Barrington Levy,
Animal Collective,
The Peanut Butter Conspiracy,
Desert Stars,
Ultramagnetic MC's,
Deadbeat,
Absolute Body Control,
The Residents,
Soft Cell,
Electric Light Orchestra,
B.T. Express,
The Gun Club,
Tim Buckley,
Echospace,
Fat Boys,
R.M.O.,
Delta 5,
The Selecter,
David Bowie,
Oblivians,
Ornette Coleman,
Larry & the Blue Notes,
David Axelrod,
Rapeman,
The Cosmic Jokers,
Lou Reed & John Cale,
Matthew Halsall,
The Young Rascals,
Trumans Water,
The Leaves,
Mission of Burma,
Terrestrial Tones,
Dave Gahan,
Magazine,
The Pop Group,
Buzzcocks,
Dead Boys,
Masters at Work,
The Busters,
Goldenarms,
Deakin,
Dark Day,
Kool Moe Dee,
The J.B.'s,
Marshall Jefferson,
8 Eyed Spy,
Half Japanese,
Eric Copeland,
Fatback Band,
The Fuzztones,
Television,
This Heat,
Glenn Branca,
Alton Ellis,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.