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 Sudan and from Edmonton.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
I'm losing my edge to the art-school Milan 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Smoke to the jazz kids.
I played it at Trash.
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 The Pop Group. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
The Slackers,
The Shadows of Knight,
X-Ray Spex,
Sun Ra,
Black Bananas,
Fear,
Average White Band,
The United States of America,
Ajijia Myrayebe,
Skarface,
Q and Not U,
Bill Near,
The Invisible,
The Doors,
The Fire Engines,
Whodini,
The Zeros,
Rowland S Howard / Lydia Lunch,
Kerrie Biddell,
Peter and Kerry,
The Music Machine,
Visage,
Moebius,
Lou Reed & John Cale,
Eric Dolphy,
Flash Fearless,
Patti Smith,
Bobby Hutcherson,
Jacob Miller,
Marc Almond,
ABC,
Ituana,
Model 500,
World's Most,
Louis and Bebe Barron,
Kenny Larkin,
Janne Schatter,
The Doobie Brothers,
Fifty Foot Hose,
the Bar-Kays,
DeepChord presents Echospace,
Nation of Ulysses,
Porter Ricks,
Gregory Isaacs,
Boz Scaggs,
Archie Shepp,
The Jesus and Mary Chain,
John Holt,
Marvin Gaye,
Parry Music,
Youth Brigade,
David Bowie,
Todd Rundgren,
Carl Craig,
Nirvana,
Avey Tare's Slasher Flicks,
Pharaoh Sanders and the Fire Engines,
Richard Hell and the Voidoids,
The Monochrome Set,
Tropical Tobacco,
Eli Mardock,
The Leaves,
Suicide, Suicide, Suicide, Suicide.
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.