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 Panama and from Copenhagen.
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 1976.
I'm losing my edge.
To all the kids in Spokane and Madrid.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Nick Fraelich to the electroclash 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 X-101. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Q and Not U 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Lonnie Liston Smith,
Model 500,
Vaughan Mason & Crew,
Urselle,
Eric Copeland,
Spandau Ballet,
8 Eyed Spy,
The Jesus and Mary Chain,
The Cramps,
Lizzy Mercier Descloux,
Jerry's Kids,
The Young Rascals,
Suburban Knight,
Guru Guru,
Robert Wyatt,
Harry Pussy,
Subhumans,
Bob Dylan,
Saccharine Trust,
Rotary Connection,
Hoover,
Oppenheimer Analysis,
Warsaw,
Sight & Sound,
The Knickerbockers,
Prince Buster,
Sarah Menescal,
Heavy D & The Boyz,
Terror Squad Feat. Camron,
The American Breed,
Kool G Rap & DJ Polo,
Khruangbin,
Althea and Donna,
Massinfluence,
The Monochrome Set,
Eric Dolphy,
Echospace,
Avey Tare,
Television,
Lungfish,
Röyhkä ja Rättö ja Lehtisalo,
Harmonia,
Ronan,
Blake Baxter,
Vainqueur,
Skriet,
Joe Finger,
Tom Boy,
Lou Reed & John Cale,
H. Thieme,
Kenny Larkin,
Deakin,
Angels of Light & Akron/Family,
Ornette Coleman,
Deutsch Amerikanische Freundschaft,
Lafayette Afro Rock Band,
Chris Corsano,
Ultravox,
Sparks,
China Crisis,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.