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 Guatemala and from Cairo.
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 1973.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Copenhagen 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 organ 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 Young Marble Giants to the electroclash kids.
I played it at the Crocodile.
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 Pierre Henry. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Siglo XX,
The Human League,
Massinfluence,
Derrick May,
Grauzone,
The Dave Clark Five,
Donald Byrd,
Stereo Dub,
DeepChord presents Echospace,
Brand Nubian,
Kayak,
FM Einheit,
EPMD,
Oneida,
Joensuu 1685,
10cc,
Ice-T,
kango's stein massive,
Joe Finger,
Mark Hollis,
Kool G Rap & DJ Polo,
Henry Cow,
Hardrive,
Heavy D & The Boyz,
Subhumans,
the Fania All-Stars,
Chris & Cosey,
Bobby Hutcherson,
Yellowson,
June Days,
Nils Olav,
Tropical Tobacco,
Hashim,
The Mighty Diamonds,
Soul II Soul,
Motorama,
Sixth Finger,
Mantronix,
Bobby Byrd,
the Normal,
The Golliwogs,
Camberwell Now,
Terrestrial Tones,
Audionom,
Minny Pops,
Donny Hathaway,
Max Romeo,
Warren Ellis,
The Royal Family And The Poor,
Moebius,
The Leaves,
Ralphi Rosario,
Marcia Griffiths,
Swell Maps,
Stiv Bators,
Lebanon Hanover,
Don Cherry,
The Moleskins,
Interpol,
Pere Ubu,
Brick, Brick, Brick, Brick.
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.