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 Belize and from Mumbai.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Bremen.
I'm losing my edge to the art-school Beijing 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Deadbeat to the punk 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 The Golliwogs. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Oneida 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Accadde A,
Graham Central Station,
Mantronix,
Aloha Tigers,
The New Christs,
Bobby Sherman,
X-101,
The American Breed,
Echospace,
Interpol,
Visage,
Bootsy Collins,
Maleditus Sound,
Delon & Dalcan,
Al Stewart,
The Real Kids,
Michelle Simonal,
Grandmaster Flash and the Furious Five,
Sad Lovers and Giants,
Pulsallama,
Davy DMX,
Aswad,
Johnny Clarke,
Matthew Halsall,
La Düsseldorf,
Bobbi Humphrey,
Visionaries,LMNO, T- Love & Iriscience,
The Names,
Eve St. Jones,
The Smiths,
Max Romeo,
Bronski Beat,
Piero Umiliani,
MC5,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dual Sessions,
Louis and Bebe Barron,
Skaos,
X-102,
Von Mondo,
Pete Rock & C.L. Smooth,
Harmonia,
Section 25,
Soft Machine,
Parry Music,
Spandau Ballet,
Trumans Water,
Basic Channel,
Gang Gang Dance,
Eurythmics,
China Crisis,
Sexual Harrassment,
Jeff Lynne,
Bad Manners,
Eric B and Rakim,
Super Lover Cee & Casanova Rud,
The Divine Comedy,
Freddie Wadling,
Gong,
Radio Birdman,
The Detroit Cobras,
Kevin Saunderson,
The Saints, The Saints, The Saints, The Saints.
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.