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 South Sudan and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Houston.
I'm losing my edge to the art-school New York 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 Holger Czukay 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 Easy Going to the electroclash kids.
I played it at the Astoria.
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 The Martian. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
New Order,
Cabaret Voltaire,
Pantytec,
Steve Hackett,
Sister Nancy,
Reuben Wilson,
Ken Boothe,
The Vogues,
Maleditus Sound,
Lafayette Afro Rock Band,
Al Stewart,
The Durutti Column,
The J.B.'s,
The Human League,
Art Ensemble Of Chicago,
U.S. Maple,
Jeff Lynne,
The Barracudas,
Thee Headcoats,
Fela Kuti,
Be Bop Deluxe,
Beasts of Bourbon,
Deepchord,
Quando Quango,
The Golliwogs,
Television,
David McCallum,
The Buckinghams,
Barry Ungar,
Byron Stingily,
Leonard Cohen,
Arthur Verocai,
Stiv Bators,
The Fire Engines,
Swans,
Section 25,
Rufus Thomas,
Skriet,
Eric Copeland,
Prince Buster,
Ajijia Myrayebe,
Popol Vuh,
Silicon Teens,
Grey Daturas,
The Tremeloes,
DJ Style,
Main Source,
8 Eyed Spy,
Interpol,
Funky Four + One,
Henry Cow,
Crooked Eye,
Blossom Toes,
Darondo,
Lalann,
Archie Shepp,
Junior Murvin,
Roxette,
Parry Music,
Pere Ubu,
Mantronix,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.