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 Germany and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Portland 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Suburban Knight to the disco kids.
I played it at the Astoria.
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 Average White Band. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Marvin Gaye,
Roger Hodgson,
Absolute Body Control,
Jesper Dahlbäck,
Ice-T,
Nico,
Arcadia,
The Angels of Light,
Colin Newman,
Ash Ra Tempel,
Althea and Donna,
Heavy D & The Boyz,
a-ha,
Mad Mike,
Harmonia,
Neil Young,
The Mojo Men,
Gang of Four,
Thee Headcoats,
The Misunderstood,
Dave Gahan,
Black Moon,
The Gun Club,
Terrestrial Tones,
Spandau Ballet,
Fluxion,
Au Pairs,
Ituana,
Agent Orange,
Tres Demented,
Jacques Brel,
Icehouse,
James White and The Blacks,
The Dirtbombs,
The American Breed,
The Vogues,
Metal Thangz,
Gregory Isaacs,
Crispian St. Peters,
Black Flag,
Scan 7,
Rotary Connection,
Girls At Our Best!,
Lou Reed & Metallica,
Suburban Knight,
the Normal,
Flash Fearless,
Pierre Henry,
Goldenarms,
Be Bop Deluxe,
Section 25,
Max Romeo,
Schoolly D,
Jerry Gold Smith,
Jerry's Kids,
Royal Trux,
Lou Reed & John Cale,
The Young Rascals,
Sly & The Family Stone,
Scrapy,
Carl Craig,
Wolf Eyes,
Quantec, Quantec, Quantec, Quantec.
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.