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 Bahamas and from Edmonton.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Lyon 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Ken Boothe to the techno kids.
I played it at the 40 Watt.
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 UT. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin 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 rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Anthony Braxton,
Cybotron,
Subhumans,
The J.B.'s,
Flash Fearless,
Bill Wells,
The Dave Clark Five,
Bill Near,
Slave,
David Axelrod,
Black Moon,
Man Eating Sloth,
K-Klass,
Pharoah Sanders,
Quando Quango,
Dave Gahan,
June Days,
The Mighty Diamonds,
Scott Walker,
Lou Reed & Metallica,
The United States of America,
Los Fastidios,
Neu!,
the Slits,
Cheater Slicks,
Lafayette Afro Rock Band,
The Moleskins,
Brothers Johnson,
Quantec,
The Zeros,
Fugazi,
The Stooges,
Darondo,
Flipper,
Super Lover Cee & Casanova Rud,
Gichy Dan,
Jerry Gold Smith,
Lonnie Liston Smith,
Lucky Dragons,
The Golliwogs,
Joe Smooth,
Jimmy McGriff,
Echo & the Bunnymen,
Procol Harum,
Idris Muhammad,
Ice-T,
Maurizio,
Todd Terry,
Lyres,
Donald Byrd,
Toni Rubio,
Essential Logic,
Lalo Schifrin,
Avey Tare & Kría Brekkan,
Royal Trux,
Janne Schatter,
Liaisons Dangereuses,
John Cale,
Piero Umiliani,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.