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 Brunei and from Spokane.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Glasgow 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 Art of Noise practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 The Evens to the rock 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 Vaughan Mason & Crew. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
The Smoke,
John Holt,
Ash Ra Tempel,
Heavy D & The Boyz,
The New Christs,
The Red Krayola,
The Jesus and Mary Chain,
Henry Cow,
The Chocolate Watch Band,
Magma,
cv313,
Kango’s Stein Massive,
Intrusion,
Sight & Sound,
Roxy Music,
Dr. Dre and Snoop Doggy Dog,
Livin' Joy,
Roy Ayers,
Crooked Eye,
The Fuzztones,
Cluster,
Pole,
Bronski Beat,
Matthew Halsall,
Oppenheimer Analysis,
Bang On A Can,
The Neon Judgement,
Gerry Rafferty,
Danielle Patucci,
Marine Girls,
Richard Hell and the Voidoids,
Marmalade,
Parry Music,
Camberwell Now,
Sexual Harrassment,
Sound Behaviour,
Interpol,
Tim Buckley,
Reuben Wilson,
R.M.O.,
Tom Boy,
Mantronix,
Juan Atkins,
Erasure,
Janne Schatter,
Cymande,
Supertramp,
Loose Ends,
Agent Orange,
Howard Jones,
Matthew Bourne,
Josef K,
Electric Prunes,
Electric Light Orchestra,
Magazine,
Justin Hinds & The Dominoes,
Byron Stingily,
The Count Five,
The Victims,
Negative Approach,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.