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 Congo and from Lagos.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school Toronto 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 Rapeman to the grunge kids.
I played it at the Astoria.
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 Tommy Roe. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Cybotron 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 harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Lyres,
The Gun Club,
Fear,
The Walker Brothers,
Black Flag,
Blossom Toes,
Matthew Halsall,
Surgeon,
Joe Finger,
Jeff Lynne,
Pulsallama,
Curtis Mayfield,
The Detroit Cobras,
Marcia Griffiths,
The Divine Comedy,
Depeche Mode,
Junior Murvin,
Drive Like Jehu,
The Evens,
The Fall,
Minutemen,
Gichy Dan,
JFA,
Tres Demented,
Drexciya,
John Lydon,
Duran Duran,
Thompson Twins,
Archie Shepp,
Rapeman,
Siglo XX,
Gregory Isaacs,
Hashim,
Essential Logic,
Groovy Waters,
Bang On A Can,
Pole,
The Barracudas,
Cecil Taylor,
Neu!,
The Neon Judgement,
Pantytec,
The Dirtbombs,
The Trojans,
The Chocolate Watch Band,
K-Klass,
Fort Wilson Riot,
Fluxion,
DNA,
Super Lover Cee & Casanova Rud,
Don Cherry,
Audionom,
Stockholm Monsters,
Rowland S Howard / Lydia Lunch,
Alison Limerick,
Art Ensemble Of Chicago,
Radio Birdman,
The Move,
Bootsy's Rubber Band,
Carl Craig,
Dual Sessions,
Godley & Creme,
Boredoms, Boredoms, Boredoms, Boredoms.
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.