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 Denmark and from Edmonton.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Shanghai 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 theremin 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 Anakelly to the techno 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 Half Japanese. All the underground hits.
All UT tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Al Stewart,
June Days,
Peter & Gordon,
Robert Görl,
Public Enemy,
Avey Tare,
Kauko Röyhkä ja Narttu,
The Blues Magoos,
Masters at Work,
X-Ray Spex,
Easy Going,
The Moody Blues,
Flash Fearless,
Average White Band,
Pantaleimon,
Mr. Review,
Minny Pops,
The Vogues,
Desert Stars,
The Index,
Liliput,
Manfred Mann's Earth Band,
Pulsallama,
Nico,
Big Daddy Kane,
Mary Jane Girls,
Wighnomy Brothers & Robag Wruhme,
Minutemen,
Max Romeo,
Ohio Players,
Make Up,
OOIOO,
Chris & Cosey,
Pharaoh Sanders and the Fire Engines,
Aaron Thompson,
Iggy Pop,
Toni Rubio,
Kas Product,
Aswad,
Rotary Connection,
Barry Ungar,
Sun Ra,
Tim Buckley,
Mark Hollis,
Mo-Dettes,
Lizzy Mercier Descloux,
Angels of Light & Akron/Family,
Quando Quango,
Babytalk,
The Dead C,
Hot Snakes,
Peter and Kerry,
Technova,
Röyhkä ja Rättö ja Lehtisalo,
Stiv Bators,
The Real Kids,
Royal Trux,
Dawn Penn,
The Cosmic Jokers,
Heaven 17,
Faraquet,
Simply Red, Simply Red, Simply Red, Simply Red.
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.