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 Laos 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 1960 to 1972.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Winnipeg 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 linndrum sounds with much patience.
I was there when David Bowie 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 Barbara Tucker to the punk 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 Derrick Morgan. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Brass Construction,
Ronnie Foster,
Idris Muhammad,
Essential Logic,
Ludus,
8 Eyed Spy,
Brick,
Unwound,
Scratch Acid,
Roxette,
Max Romeo,
Ultramagnetic MC's,
Camouflage,
Mantronix,
R.M.O.,
The Barracudas,
Lou Reed & Metallica,
The Flesh Eaters,
Warsaw,
Avey Tare & Kría Brekkan,
The Searchers,
Susan Cadogan,
Adolescents,
The Fire Engines,
John Coltrane,
Josef K,
Peter and Kerry,
Smog,
D'Angelo,
Soft Cell,
Sound Behaviour,
Todd Rundgren,
Oppenheimer Analysis,
Jimmy McGriff,
The American Breed,
Nation of Ulysses,
Mark Hollis,
The Offenders,
Pet Shop Boys,
Heaven 17,
Reagan Youth,
Gian Franco Pienzio,
Chris & Cosey,
Theoretical Girls,
Sun City Girls,
Stereo Dub,
Judy Mowatt,
Pharoah Sanders,
Echo & the Bunnymen,
Barry Ungar,
Vaughan Mason & Crew,
John Cale,
Warren Ellis,
Ultravox,
Scott Walker + Sunn O))),
Major Organ And The Adding Machine,
The Five Americans,
Hot Snakes,
Eddi Front,
Technova,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.