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 Korea South and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Lille and Glasgow.
I'm losing my edge to the art-school Calgary 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 Art of Noise practice in a loft in London.
I was working on the rhodes 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 Kenny Larkin to the grime kids.
I played it at the Roxy.
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 Roger Hodgson. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Cabaret Voltaire,
Mars,
Max Romeo,
Anthony Braxton,
Rapeman,
Jacob Miller,
Peter Gordon & Love of Life Orchestra,
Derrick Morgan,
Sexual Harrassment,
Wings,
Andrew Ashong & Theo Parrish,
Sällskapet,
Rosa Yemen,
The Techniques,
The Sisters of Mercy,
Nick Fraelich,
Fifty Foot Hose,
The Gories,
Sunsets and Hearts,
Fat Boys,
Frankie Knuckles,
Archie Shepp,
Ultra Naté,
Quantec,
Roy Ayers,
Andrew Hill,
Ronnie Foster,
Essential Logic,
Throbbing Gristle,
The Gun Club,
CMW,
Cameo,
Isaac Hayes,
John Coltrane,
Justin Hinds & The Dominoes,
Scion,
Black Bananas,
Alice Coltrane,
Oneida,
China Crisis,
The Selecter,
Todd Rundgren,
Mo-Dettes,
The Divine Comedy,
Aural Exciters,
Minor Threat,
Soul II Soul,
Josef K,
Radiopuhelimet,
EPMD,
The Smoke,
Michelle Simonal,
Silicon Teens,
Rod Modell,
ABC,
The Monks,
Blossom Toes,
Bronski Beat,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.