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 South Africa and from Winnipeg.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Mumbai 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 arpeggiator 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 The Doors to the electroclash kids.
I played it at the Hacienda.
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 Section 25. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Todd Rundgren record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Los Fastidios,
These Immortal Souls,
Brothers Johnson,
Wally Richardson,
Underground Resistance,
Country Teasers,
Jeff Mills,
Japan,
AZ,
Judy Mowatt,
Alton Ellis,
Beasts of Bourbon,
Jesper Dahlbäck,
Stetsasonic,
Funkadelic,
Toni Rubio,
a-ha,
the Association,
Tres Demented,
Scion,
U.S. Maple,
Neil Young,
The Sound,
Ash Ra Tempel,
Supertramp,
Minny Pops,
Skaos,
the Fania All-Stars,
Eddi Front,
Anakelly,
the Slits,
Terry Callier,
Ten City,
Swans,
The Music Machine,
Scott Walker + Sunn O))),
The Doors,
Joensuu 1685,
Jacques Brel,
Leonard Cohen,
DNA,
Gil Scott-Heron and Jamie xx,
The Move,
Model 500,
JFA,
Sugar Minott,
Throbbing Gristle,
The Alarm Clocks,
Aural Exciters,
Ohio Players,
The Trojans,
The Motions,
The Moleskins,
Vaughan Mason & Crew,
Wasted Youth,
Derrick May,
Erasure,
Frankie Knuckles,
X-102,
Essential Logic,
John Foxx,
Inner City,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.