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 Tanzania and from Glasgow.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Toronto and Salvador.
I'm losing my edge to the art-school Tokyo 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the spring reverb 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 Wolf Eyes to the rap kids.
I played it at the Hacienda.
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 Ultra Naté. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your organ and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Monolake,
In Retrospect,
Swell Maps,
Sexual Harrassment,
MC5,
Scion,
Basic Channel,
Mandrill,
The Cure,
Nik Kershaw,
Howard Jones,
James Chance & The Contortions,
The Gap Band,
The Pretty Things,
Interpol,
Lyres,
Stiv Bators,
Magma,
Quantec,
Röyhkä ja Rättö ja Lehtisalo,
Orchestral Manoeuvres in the Dark,
Dawn Penn,
Barrington Levy,
Quando Quango,
Blossom Toes,
Minor Threat,
Radio Birdman,
Nation of Ulysses,
The West Coast Pop Art Experimental Band,
Electric Light Orchestra,
The Vogues,
Groovy Waters,
Country Joe & The Fish,
June of 44,
Silicon Teens,
Barclay James Harvest,
The Cramps,
This Heat,
Echospace,
Bootsy's Rubber Band,
Kerrie Biddell,
Yellowson,
Mars,
Eric Copeland,
Los Fastidios,
Angels of Light & Akron/Family,
The Gories,
Prince Buster,
The Fall,
Warren Ellis,
Warsaw,
Scott Walker + Sunn O))),
Lonnie Liston Smith,
Mantronix,
Minnie Riperton,
Yaz,
Slick Rick,
Gian Franco Pienzio,
Strawberry Alarm Clock,
The Martian,
the Normal,
Susan Cadogan,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.