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 India and from Salvador.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Stockholm 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Laurel Aitken to the rock kids.
I played it at Trash.
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 Half Japanese. All the underground hits.
All Gary Puckett & The Union Gap 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 '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Bang on a Can All-Stars,
Alphaville,
Mars,
Nils Olav,
Shoche,
Minutemen,
Siouxsie and the Banshees,
The Victims,
Nick Fraelich,
Dark Day,
Art Ensemble Of Chicago,
Faust,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Liaisons Dangereuses,
Television Personalities,
Hot Snakes,
Clear Light,
In Retrospect,
Sly & The Family Stone,
Banda Bassotti,
Masters at Work,
Jandek,
Unwound,
Maurizio,
Janne Schatter,
Marine Girls,
Pylon,
Sun Ra,
The Gap Band,
Scion,
Harry Pussy,
Gang Green,
Motorama,
Man Parrish,
Harmonia,
Aloha Tigers,
Yazoo,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nik Kershaw,
Skaos,
New Age Steppers,
David Axelrod,
Glenn Branca,
F. McDonald,
Lakeside,
Zero Boys,
The Red Krayola,
The Mojo Men,
Flamin' Groovies,
Basic Channel,
Junior Murvin,
Al Stewart,
Major Organ And The Adding Machine,
Barry Ungar,
Suburban Knight,
Freddie Wadling,
Icehouse,
Aswad,
Black Sheep,
Black Bananas,
John Cale,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.