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 Zimbabwe and from Winnipeg.
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 Halifax and Houston.
I'm losing my edge to the art-school Philadelphia 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Aaron Thompson to the disco kids.
I played it at the 40 Watt.
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 Can. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Liliput,
June of 44,
Quadrant,
Vaughan Mason & Crew,
Sad Lovers and Giants,
Heavy D & The Boyz,
Jawbox,
Duran Duran,
X-102,
48th St. Collective,
Henry Cow,
David Axelrod,
Marc Romboy vs. Booka Shade,
Make Up,
Main Source,
Kevin Saunderson,
Roger Hodgson,
Strawberry Alarm Clock,
Severed Heads,
Jacob Miller,
the Germs,
the Normal,
Brothers Johnson,
Y Pants,
The Toasters,
The Star Department,
The Sisters of Mercy,
Yaz,
Marmalade,
The Knickerbockers,
Erasure,
Tears for Fears,
The Doors,
Terry Callier,
Major Organ And The Adding Machine,
Sarah Menescal,
Kaleidoscope,
Sonny Sharrock,
Louis and Bebe Barron,
Unwound,
Young Marble Giants,
Chrome,
Section 25,
Joey Negro,
Judy Mowatt,
Visionaries,LMNO, T- Love & Iriscience,
The Offenders,
Gong,
Yazoo,
DJ Style,
Beasts of Bourbon,
The J.B.'s,
Eric B and Rakim,
The Tremeloes,
Jesper Dahlbäck,
The Mojo Men,
Oblivians,
Average White Band,
Bronski Beat,
Barclay James Harvest,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.