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 Dominica and from Tehran.
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 1972.
I'm losing my edge.
To all the kids in Spokane and Lagos.
I'm losing my edge to the art-school Winnipeg 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 güiro 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 JFA to the rap kids.
I played it at Cafe Wha.
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 Outsiders. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal jazz 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
The Music Machine,
CMW,
Sam Rivers,
Kool G Rap & DJ Polo,
Dave Gahan,
8 Eyed Spy,
Pere Ubu,
Lyres,
The Gladiators,
Organ,
Avey Tare's Slasher Flicks,
Gian Franco Pienzio,
Chrome,
Animal Collective,
Girls At Our Best!,
Louis and Bebe Barron,
Scan 7,
Faust,
Glambeats Corp.,
The Mojo Men,
The Martian,
Ice-T,
Manfred Mann's Earth Band,
Kerrie Biddell,
Traffic Nightmare,
Negative Approach,
Talk Talk,
Althea and Donna,
Jerry's Kids,
New Age Steppers,
Deadbeat,
Technova,
The American Breed,
Ken Boothe,
The Barracudas,
Massinfluence,
The Slits,
Richard Hell and the Voidoids,
Funkadelic,
Half Japanese,
Goldenarms,
Rekid,
Bad Manners,
The Flesh Eaters,
Unrelated Segments,
B.T. Express,
The Velvet Underground,
Reagan Youth,
Bob Dylan,
Rotary Connection,
The Neon Judgement,
The Red Krayola,
The Shadows of Knight,
Tres Demented,
Blossom Toes,
T.S.O.L.,
Minnie Riperton,
Ultimate Spinach,
Warsaw,
Black Sheep,
The Selecter,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.