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 Belize and from London.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Winnipeg.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Das Ding to the electroclash kids.
I played it at Cafe Wha.
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 Evens. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Aaron Thompson 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Red Lorry Yellow Lorry,
Minor Threat,
Index,
Deutsch Amerikanische Freundschaft,
Roger Hodgson,
Spandau Ballet,
Cecil Taylor,
Scott Walker + Sunn O))),
Bauhaus,
The Names,
Intrusion,
Rahsaan Roland Kirk,
Nas,
Mandrill,
Unwound,
Gichy Dan,
Masters at Work,
Rakim,
La Düsseldorf,
Bill Near,
Mantronix,
Yellowson,
Eli Mardock,
Cybotron,
Echospace,
Archie Shepp,
Flash Fearless,
The Barracudas,
Heavy D & The Boyz,
Ronan,
The Saints,
Gil Scott-Heron & Brian Jackson,
Mary Jane Girls,
Sexual Harrassment,
The Young Rascals,
Crash Course in Science,
Moby Grape,
Be Bop Deluxe,
Crooked Eye,
Public Image Ltd.,
Tim Buckley,
Steve Hackett,
EPMD,
Stiv Bators,
Skaos,
The Divine Comedy,
Robert Görl,
Jesper Dahlback,
Faust,
Second Layer,
Can,
Grey Daturas,
James White and The Blacks,
Oblivians,
Minnie Riperton,
Byron Stingily,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.