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 Montenegro and from Woodstock.
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 1971.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school Tokyo 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Marshall Jefferson to the electroclash kids.
I played it at the Roxy.
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 Jacob Miller. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Mo-Dettes 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
The Blues Magoos,
Lalo Schifrin,
Louis and Bebe Barron,
The Invisible,
Patti Smith,
The Gap Band,
Tears for Fears,
10cc,
Deakin,
Bang On A Can,
Sparks,
Bootsy's Rubber Band,
the Swans,
Half Japanese,
The Real Kids,
Liaisons Dangereuses,
Kaleidoscope,
Niagra,
John Foxx,
Magma,
Con Funk Shun,
Hot Snakes,
Gang of Four,
Guru Guru,
Alison Limerick,
James Chance & The Contortions,
Bauhaus,
Livin' Joy,
Alice Coltrane,
The Dirtbombs,
The New Christs,
Fluxion,
The Names,
8 Eyed Spy,
Boredoms,
Negative Approach,
Roxette,
Essential Logic,
Fugazi,
Be Bop Deluxe,
Henry Cow,
Eurythmics,
Marshall Jefferson,
Chris & Cosey,
Drexciya,
Big Daddy Kane,
Pharaoh Sanders and the Fire Engines,
Bill Near,
Flash Fearless,
Jeff Lynne,
Lightning Bolt,
Gerry Rafferty,
Mary Jane Girls,
Sound Behaviour,
Juan Atkins,
Black Pus,
Black Bananas,
Can,
Von Mondo,
Surgeon,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.