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 Yemen and from Seoul.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
I'm losing my edge to the art-school Stockholm 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 synthesizer 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 Outsiders to the funk kids.
I played it at the Troubador.
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 Colin Newman. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
The Gun Club,
The Raincoats,
Justin Hinds & The Dominoes,
Minor Threat,
Cheater Slicks,
Electric Prunes,
Kerrie Biddell,
The Happenings,
Pussy Galore,
Neu!,
Eli Mardock,
Lightning Bolt,
Tomorrow,
X-102,
Anthony Braxton,
Tubeway Army,
H. Thieme,
Boredoms,
Spoonie Gee,
Andrew Hill,
Pete Rock & C.L. Smooth,
The Gladiators,
X-101,
John Holt,
Röyhkä ja Rättö ja Lehtisalo,
Ken Boothe,
JFA,
The Standells,
10cc,
Traffic Nightmare,
T. Rex,
the Germs,
De La Soul & Jungle Brothers,
the Bar-Kays,
Crooked Eye,
The Misunderstood,
The Associates,
Model 500,
Maleditus Sound,
Bronski Beat,
Sun City Girls,
Howard Jones,
Lou Reed & John Cale,
Fear,
Scan 7,
Harpers Bizarre,
Graham Central Station,
John Coltrane,
Pet Shop Boys,
Black Bananas,
The Tremeloes,
Spandau Ballet,
Gregory Isaacs,
Joensuu 1685,
Nirvana,
The American Breed,
Crime,
Peter and Kerry,
Aaron Thompson,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.