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 Lesotho and from Calgary.
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 1971.
I'm losing my edge.
To all the kids in Paris and Bremen.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin 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 Ultravox to the jazz kids.
I played it at CBGB's.
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 The Velvet Underground. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Fortunes 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Monks,
Grandmaster Flash and the Furious Five,
Quantec,
John Cale,
Blossom Toes,
Q and Not U,
Scratch Acid,
Popol Vuh,
Blancmange,
Steve Hackett,
Alton Ellis,
Dark Day,
Pagans,
Cabaret Voltaire,
Morten Harket,
The Smiths,
Tomorrow,
A Flock of Seagulls,
Ponytail,
Make Up,
These Immortal Souls,
The Electric Prunes,
Henry Cow,
The Angels of Light,
Gong,
Reuben Wilson,
Jerry's Kids,
Traffic Nightmare,
Boredoms,
New Order,
Jawbox,
The Martian,
Agent Orange,
Teenage Jesus and the Jerks,
Public Enemy,
Technova,
Bootsy's Rubber Band,
Neil Young & Crazy Horse,
Sun Ra,
Bobby Womack,
Sexual Harrassment,
Minor Threat,
The Modern Lovers,
Notorious Big And Bone Thugs,
Liaisons Dangereuses,
Severed Heads,
The Gladiators,
Sister Nancy,
DJ Sneak,
Man Parrish,
Albert Ayler,
Eric Dolphy,
Notorious BIG live in Amsterdam,
Danielle Patucci,
Franke,
Joyce Sims,
Rowland S Howard / Lydia Lunch,
The Victims,
Wire,
Dorothy Ashby,
The Seeds,
Skarface,
CMW, CMW, CMW, CMW.
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.