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 Comoros and from Hong Kong.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Woodstock 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Supertramp to the disco 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 Grandmaster Flash. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Lee Hazlewood,
Kurtis Blow,
Audionom,
Laurel Aitken,
Q and Not U,
Unwound,
Black Sheep,
The Zeros,
Thee Headcoats,
Camberwell Now,
Black Flag,
Icehouse,
Nation of Ulysses,
Prince Buster,
Underground Resistance,
The West Coast Pop Art Experimental Band,
the Fania All-Stars,
Johnny Clarke,
Tears for Fears,
D'Angelo,
Beasts of Bourbon,
Barclay James Harvest,
Harmonia,
Minor Threat,
Echo & the Bunnymen,
Larry & the Blue Notes,
World's Most,
Second Layer,
The Buckinghams,
Major Organ And The Adding Machine,
Buzzcocks,
Scrapy,
Vaughan Mason & Crew,
A Certain Ratio,
James Chance & The Contortions,
Amon Düül,
Kool G Rap & DJ Polo,
Quantec,
Lower 48,
Silicon Teens,
Banda Bassotti,
the Normal,
Mantronix,
Erykah Badu,
The Offenders,
David Axelrod,
Iggy Pop,
Circle Jerks,
Drive Like Jehu,
Fear,
The Chocolate Watch Band,
Mary Jane Girls,
The Mojo Men,
FM Einheit,
Aural Exciters,
Deepchord,
The Doobie Brothers,
Soft Cell,
Eddi Front,
X-102,
Andrew Hill,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.