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 Nauru and from Salvador.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord 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 Mars to the dance kids.
I played it at the Hacienda.
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 Amazonics. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Gabor Szabo,
AZ,
Rekid,
Boogie Down Productions,
Q65,
Joe Smooth,
Cabaret Voltaire,
Dennis Brown,
Kool Moe Dee,
Peter & Gordon,
Sugar Minott,
Slick Rick,
Q and Not U,
Deadbeat,
Tears for Fears,
The Dirtbombs,
Electric Light Orchestra,
Basic Channel,
Flash Fearless,
Magazine,
Cybotron,
Roxy Music,
Major Organ And The Adding Machine,
Bobby Sherman,
Avey Tare,
Lou Christie,
Brand Nubian,
The Sound,
Leonard Cohen,
Althea and Donna,
Unrelated Segments,
Khruangbin,
Trumans Water,
The Durutti Column,
Eric Dolphy,
kango's stein massive,
Sam Rivers,
Amon Düül,
Heaven 17,
Angels of Light & Akron/Family,
Ash Ra Tempel,
Gary Puckett & The Union Gap,
Roy Ayers,
Cymande,
Little Man,
Au Pairs,
Charles Mingus,
The Count Five,
Delta 5,
OOIOO,
Black Sheep,
Orchestral Manoeuvres in the Dark,
The Skatalites,
Colin Newman,
Organ,
Robert Görl,
Subhumans,
Lungfish,
The Smoke,
Jerry Gold Smith,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.