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 Belgium and from Lille.
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 1962 to 1971.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Traffic Nightmare to the disco 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 Warsaw. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Litter,
Gary Puckett & The Union Gap,
Minutemen,
Radiopuhelimet,
Ultramagnetic MC's,
The Vogues,
Amon Düül II,
Brass Construction,
Sister Nancy,
Organ,
Darondo,
Judy Mowatt,
The J.B.'s,
The Pretty Things,
KRS-One,
Easy Going,
Cybotron,
Joe Finger,
Super Lover Cee & Casanova Rud,
Camouflage,
Terry Callier,
Electric Prunes,
Soul II Soul,
F. McDonald,
Peter Gordon & Love of Life Orchestra,
Index,
Rufus Thomas,
Country Joe & The Fish,
X-101,
Gil Scott-Heron & Brian Jackson,
Average White Band,
Blancmange,
Fear,
The Leaves,
Roxy Music,
Graham Central Station,
Althea and Donna,
The Music Machine,
New York Dolls,
Intrusion,
Q and Not U,
DeepChord presents Echospace,
The Beau Brummels,
Marcia Griffiths,
Manfred Mann's Earth Band,
Sam Rivers,
The Dirtbombs,
T. Rex,
Tomorrow,
Scott Walker,
Ten City,
Warren Ellis,
These Immortal Souls,
the Human League,
Dorothy Ashby,
Connie Case,
Maleditus Sound,
Lou Reed & Metallica,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.