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 Croatia and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1973.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Johannesburg 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 Robert Palmer 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 Flipper to the jazz kids.
I played it at the Spitz.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Masters at Work 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your rhodes and bought an organ.
I hear that you and your band have sold your organ and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
The Pop Group,
Al Stewart,
Rowland S Howard / Lydia Lunch,
Big Daddy Kane,
cv313,
Quadrant,
Marshall Jefferson,
Kaleidoscope,
Pole,
The Fugs,
The Wake,
Quantec,
Vainqueur,
Eurythmics,
Joyce Sims,
The Buckinghams,
Nils Olav,
The Birthday Party,
The Misunderstood,
Index,
Rufus Thomas,
Johnny Clarke,
David Bowie,
Byron Stingily,
Minny Pops,
Radio Birdman,
Michelle Simonal,
Eden Ahbez,
Sister Nancy,
Simply Red,
Alton Ellis,
Los Fastidios,
Aural Exciters,
The Grass Roots,
Urselle,
Television Personalities,
Crime,
Siouxsie and the Banshees,
Gabor Szabo,
Strawberry Alarm Clock,
Tomorrow,
Aloha Tigers,
Sam Rivers,
Jeff Mills,
Intrusion,
Tears for Fears,
Bobby Sherman,
Sound Behaviour,
Siglo XX,
The Black Dice,
The Neon Judgement,
Jacob Miller,
Hoover,
The Blues Magoos,
Minutemen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Easy Going,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.