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 Azerbaijan and from Shanghai.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Woodstock.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ 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 United States of America to the disco 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 Anthony Braxton. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Public Image Ltd.,
Mad Mike,
Scientists,
The Human League,
Fear,
Darondo,
Black Bananas,
T. Rex,
Anakelly,
The Slits,
Marmalade,
Dark Day,
Marc Romboy vs. Booka Shade,
Jacob Miller,
Bang on a Can All-Stars,
Dr. Dre and Snoop Doggy Dog,
Pylon,
Steve Hackett,
Kerrie Biddell,
Hardrive,
MDC,
The Grass Roots,
The Mighty Diamonds,
The Leaves,
Magazine,
The Pop Group,
Minor Threat,
Cabaret Voltaire,
Flamin' Groovies,
Rhythm & Sound,
Roy Ayers Ubiquity,
Theoretical Girls,
Basic Channel,
Sexual Harrassment,
Das Ding,
The Knickerbockers,
Godley & Creme,
Alice Coltrane,
8 Eyed Spy,
The Durutti Column,
Ponytail,
Deadbeat,
The Doobie Brothers,
Tubeway Army,
The American Breed,
Al Stewart,
Aaron Thompson,
Grey Daturas,
Popol Vuh,
Bill Near,
Junior Murvin,
Underground Resistance,
Lungfish,
The Fall,
Strawberry Alarm Clock,
Monolake,
D'Angelo,
Lindisfarne,
Fela Kuti,
Lafayette Afro Rock Band,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.