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 Dominica 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 1968 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school Tehran 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 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 The Techniques to the crunk kids.
I played it at the Spitz.
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 CMW. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every The Evens 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 '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Au Pairs,
Camouflage,
Soft Cell,
The Flesh Eaters,
Ajijia Myrayebe,
Siouxsie and the Banshees,
Ponytail,
Cabaret Voltaire,
Lower 48,
The Smiths,
The Vogues,
John Foxx,
Lafayette Afro Rock Band,
Alison Limerick,
Soft Machine,
Black Moon,
Curtis Mayfield,
X-101,
Lou Reed,
the Bar-Kays,
Sällskapet,
Man Parrish,
Cal Tjader,
Stockholm Monsters,
Liaisons Dangereuses,
Tom Boy,
Avey Tare & Kría Brekkan,
The United States of America,
The Peanut Butter Conspiracy,
The Fall,
Country Joe & The Fish,
Public Image Ltd.,
the Germs,
Cybotron,
Roxette,
The Trojans,
Banda Bassotti,
Qualms,
Minny Pops,
The Neon Judgement,
Lalo Schifrin,
The Saints,
Aaron Thompson,
Public Enemy,
Los Fastidios,
Boz Scaggs,
Arab on Radar,
Rufus Thomas,
Byron Stingily,
Jawbox,
Dead Boys,
Todd Rundgren,
Piero Umiliani,
Lou Reed & John Cale,
JFA,
The Move,
James Chance & The Contortions,
Jacques Brel,
Make Up,
Bang On A Can,
Franke, Franke, Franke, Franke.
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.