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 Panama 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 1966 to 1972.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 Lou Reed 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 The Men They Couldn't Hang to the crunk kids.
I played it at CBGB's.
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 Nas. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Bizarre Inc.,
Justin Hinds & The Dominoes,
Oppenheimer Analysis,
Sticky Fingaz feat. Raekwon,
Hoover,
Metal Thangz,
Mission of Burma,
Ludus,
Negative Approach,
Glambeats Corp.,
The Gories,
Flash Fearless,
The Men They Couldn't Hang,
The Tremeloes,
Mr. Review,
Ituana,
Ultramagnetic MC's,
The Cure,
Bang on a Can All-Stars,
Fear,
Babytalk,
Pylon,
Popol Vuh,
Traffic Nightmare,
Tres Demented,
Pet Shop Boys,
Rhythm & Sound,
These Immortal Souls,
Connie Case,
the Association,
Roy Ayers,
Gerry Rafferty,
Man Parrish,
Avey Tare,
Scott Walker + Sunn O))),
Ice-T,
Notorious Big And Bone Thugs,
L. Decosne,
Grey Daturas,
The Zeros,
Arcadia,
kango's stein massive,
The Count Five,
Eddi Front,
Moby Grape,
The Young Rascals,
Bootsy Collins,
Kings Of Tomorrow,
Ultravox,
the Slits,
Sällskapet,
Robert Görl,
Outsiders,
Jesper Dahlback,
The Peanut Butter Conspiracy,
Tom Boy,
Youth Brigade,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.