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 Guatemala and from Bremen.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Portland 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 Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Theoretical Girls to the electroclash 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 Rod Modell. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Robert Görl,
DJ Style,
Traffic Nightmare,
Clear Light,
Wings,
London Community Gospel Choir,
Moby Grape,
Alton Ellis,
Fear,
Pharoah Sanders,
The Star Department,
John Cale,
X-102,
Fatback Band,
The Evens,
Marcia Griffiths,
Jerry's Kids,
Todd Rundgren,
The Young Rascals,
Slave,
Reuben Wilson,
Camouflage,
Flash Fearless,
Strawberry Alarm Clock,
10cc,
The Chocolate Watch Band,
the Swans,
Crime,
Theoretical Girls,
The Electric Prunes,
Deakin,
The Standells,
Mad Mike,
Sun City Girls,
Cameo,
Selector Dub Narcotic,
Model 500,
Jesper Dahlbäck,
John Holt,
The Slits,
H. Thieme,
Scott Walker,
L. Decosne,
Lee Hazlewood,
Silicon Teens,
Funky Four + One,
Sound Behaviour,
John Coltrane,
Radiopuhelimet,
Kurtis Blow,
E-Dancer,
Marmalade,
Excepter,
Terrestrial Tones,
Rod Modell,
Kaleidoscope,
Urselle,
The Doobie Brothers,
Jesper Dahlback,
The Smiths,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.