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 Mexico and from Bremen.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Bologna 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Davy DMX to the techno kids.
I played it at the Crocodile.
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 Crispy Ambulance. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal crunk 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 a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Fuzztones,
Fela Kuti,
Steve Hackett,
Niagra,
Ludus,
The Black Dice,
JFA,
Absolute Body Control,
Inner City,
UT,
Gregory Isaacs,
The Smiths,
Brothers Johnson,
The Kinks,
London Community Gospel Choir,
La Düsseldorf,
Nick Fraelich,
Ken Boothe,
Vladislav Delay,
Eric B and Rakim,
Eyeless In Gaza,
Arcadia,
Agent Orange,
Avey Tare's Slasher Flicks,
Aswad,
Grauzone,
R.M.O.,
Grandmaster Flash,
Rotary Connection,
Mary Jane Girls,
T.S.O.L.,
the Slits,
Con Funk Shun,
Eric Copeland,
Parry Music,
Joe Finger,
Tom Boy,
the Soft Cell,
Ultra Naté,
Kas Product,
FM Einheit,
Rufus Thomas,
Swell Maps,
Cheater Slicks,
Bizarre Inc.,
Echospace,
Trumans Water,
David Axelrod,
Schoolly D,
Judy Mowatt,
Crispian St. Peters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Joy Division,
Audionom,
Quantec,
The American Breed,
Pantaleimon,
Colin Newman,
The Happenings, The Happenings, The Happenings, The Happenings.
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.