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 Cuba and from Edmonton.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1973.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school Madrid 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 Art of Noise practice in a loft in London.
I was working on the guitar 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 Alphaville to the crunk 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 Bootsy Collins. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Icehouse,
DJ Style,
Tomorrow,
the Fania All-Stars,
Guru Guru,
The Gladiators,
Traffic Nightmare,
Flamin' Groovies,
The Fortunes,
Swell Maps,
Lalo Schifrin,
Groovy Waters,
Tom Boy,
Terrestrial Tones,
Organ,
A Certain Ratio,
Mo-Dettes,
T.S.O.L.,
Justin Hinds & The Dominoes,
Peter and Kerry,
Urselle,
Brass Construction,
John Coltrane,
Smog,
Notorious BIG live in Amsterdam,
Ralphi Rosario,
Reagan Youth,
The Evens,
Nas,
Slave,
R.M.O.,
Fear,
Stereo Dub,
Aloha Tigers,
Slick Rick,
Spandau Ballet,
JFA,
The Seeds,
The Peanut Butter Conspiracy,
Mary Jane Girls,
Radiopuhelimet,
Richard Hell and the Voidoids,
Josef K,
Niagra,
Inner City,
Khruangbin,
Ossler,
The Pretty Things,
the Human League,
Sex Pistols,
Eyeless In Gaza,
John Cale,
Das Ding,
Underground Resistance,
Basic Channel,
Sam Rivers,
New Order,
Lower 48,
Tommy Roe,
Nico,
Fad Gadget,
The Modern Lovers,
The Remains, The Remains, The Remains, The Remains.
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.