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 Kosovo and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1970.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Calgary 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 Holger Czukay 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 Das Ding to the rap kids.
I played it at the Roxy.
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 John Foxx. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every The Modern Lovers 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Man Parrish,
Delon & Dalcan,
Godley & Creme,
The Peanut Butter Conspiracy,
Gil Scott Heron,
Zapp,
B.T. Express,
Gichy Dan,
Aural Exciters,
Laurel Aitken,
Camouflage,
The Saints,
Inner City,
Radiopuhelimet,
Bang on a Can All-Stars,
Kas Product,
Country Joe & The Fish,
Jimmy McGriff,
The Electric Prunes,
The Birthday Party,
Hashim,
Chrome,
Barry Ungar,
Accadde A,
Pole,
The Busters,
The Shadows of Knight,
Terror Squad Feat. Camron,
London Community Gospel Choir,
Juan Atkins,
Q and Not U,
The Music Machine,
Nirvana,
Michelle Simonal,
Echo & the Bunnymen,
Aswad,
The Slits,
Isaac Hayes,
Curtis Mayfield,
Jesper Dahlbäck,
Hasil Adkins,
Guru Guru,
The New Christs,
Ossler,
Bobby Womack,
Bob Dylan,
Be Bop Deluxe,
Brothers Johnson,
The Blackbyrds,
Colin Newman,
Kauko Röyhkä ja Narttu,
Niagra,
Buzzcocks,
Mo-Dettes,
Girls At Our Best!,
Mark Hollis,
Fluxion,
Sound Behaviour,
Ronan, Ronan, Ronan, Ronan.
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.