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 Niger and from Columbus.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Halifax.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Marmalade to the dance kids.
I played it at the Hacienda.
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 L. Decosne. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Blake Baxter,
Electric Prunes,
Kerri Chandler,
Lakeside,
Bluetip,
Avey Tare,
AZ,
Skriet,
Oblivians,
Maurizio,
Pole,
the Association,
Essential Logic,
Radiohead,
Amazonics,
Sparks,
The Smiths,
Andrew Hill,
Masters at Work,
U.S. Maple,
Dual Sessions,
Barrington Levy,
Terrestrial Tones,
Tubeway Army,
Liaisons Dangereuses,
Boogie Down Productions,
Mantronix,
Fad Gadget,
Dr. Dre and Snoop Doggy Dog,
The Kinks,
Dorothy Ashby,
Eric Dolphy,
Rosa Yemen,
Graham Central Station,
the Soft Cell,
Arthur Verocai,
Minnie Riperton,
Eric B and Rakim,
Soul Sonic Force,
The Seeds,
Magazine,
The Pop Group,
The Toasters,
Eli Mardock,
Monks,
Eurythmics,
Drexciya,
Ornette Coleman,
Q65,
The Victims,
Sight & Sound,
Spandau Ballet,
Lindisfarne,
Alton Ellis,
Deutsch Amerikanische Freundschaft,
Steve Hackett,
Slick Rick,
Quando Quango,
T.S.O.L.,
Rapeman,
Lebanon Hanover,
Crispian St. Peters,
Das Ding, Das Ding, Das Ding, Das Ding.
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.