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 Mauritius and from Paris.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Bremen.
I'm losing my edge to the art-school Spokane 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 clarinet 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 Circle Jerks 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 Make Up. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Sly & The Family Stone,
Lizzy Mercier Descloux,
X-Ray Spex,
Livin' Joy,
Los Fastidios,
The American Breed,
Little Man,
KRS-One,
The Smoke,
Tommy Roe,
Blossom Toes,
Stockholm Monsters,
John Lydon,
Kenny Larkin,
Gil Scott-Heron & Brian Jackson,
Aswad,
Funky Four + One,
Peter Gordon & Love of Life Orchestra,
Altered Images,
Pierre Henry,
Joensuu 1685,
Sällskapet,
Accadde A,
Rotary Connection,
Thinking Fellers Union Local 282,
The Doors,
Sam Rivers,
ABC,
Bootsy Collins,
Pantytec,
FM Einheit,
Hardrive,
The United States of America,
Country Joe & The Fish,
Bang On A Can,
The Pop Group,
The Martian,
Mission of Burma,
The Techniques,
Strawberry Alarm Clock,
Fort Wilson Riot,
Oblivians,
Mars,
The Moody Blues,
Ossler,
The Stooges,
Motorama,
Dave Gahan,
Alice Coltrane,
Gang Starr,
Con Funk Shun,
Peter & Gordon,
Barrington Levy,
The Dave Clark Five,
Deutsch Amerikanische Freundschaft,
Art Ensemble Of Chicago,
Robert Görl,
Easy Going,
Josef K,
Urselle, Urselle, Urselle, Urselle.
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.