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 Seychelles and from Lille.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1978.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Lyon 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 synthesizer 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 Tears for Fears to the disco kids.
I played it at the Crocodile.
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 Scan 7. All the underground hits.
All CMW tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Thinking Fellers Union Local 282,
Pharoah Sanders,
Cabaret Voltaire,
The Toasters,
The Red Krayola,
The Fugs,
Warren Ellis,
R.M.O.,
ABC,
The Blackbyrds,
David Bowie,
Masters at Work,
Bush Tetras,
Icehouse,
Chris & Cosey,
Easy Going,
Vainqueur,
ABBA,
Bootsy's Rubber Band,
Symarip,
Essential Logic,
Crooked Eye,
Sad Lovers and Giants,
Duran Duran,
The Dave Clark Five,
Curtis Mayfield,
The Remains,
Eden Ahbez,
the Slits,
Anakelly,
Spandau Ballet,
Talk Talk,
Roy Ayers Ubiquity,
Massinfluence,
Althea and Donna,
Warsaw,
Newcleus,
Lee Hazlewood,
The Divine Comedy,
Aural Exciters,
Nick Fraelich,
The Moody Blues,
Mary Jane Girls,
Rapeman,
Selector Dub Narcotic,
Pierre Henry,
The Litter,
Deadbeat,
Reagan Youth,
Yaz,
Cybotron,
Tears for Fears,
Howard Jones,
Rufus Thomas,
Bang on a Can All-Stars,
Lou Reed & John Cale,
Fela Kuti,
Pussy Galore,
The Offenders, The Offenders, The Offenders, The Offenders.
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.