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 Nauru and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Accra and Spokane.
I'm losing my edge to the art-school Woodstock 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Fat Boys to the electroclash kids.
I played it at the Troubador.
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 JFA. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Ossler 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
X-101,
Soft Cell,
Marmalade,
The Names,
Dark Day,
Excepter,
Pole,
Marc Romboy vs. Booka Shade,
Spandau Ballet,
the Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Moebius,
Motorama,
Radio Birdman,
John Foxx,
The Flesh Eaters,
The Durutti Column,
Bronski Beat,
Angry Samoans,
48th St. Collective,
The Velvet Underground,
Roxy Music,
Livin' Joy,
Popol Vuh,
Bobby Hutcherson,
Q65,
These Immortal Souls,
Susan Cadogan,
The Birthday Party,
Max Romeo,
Avey Tare,
Orchestral Manoeuvres in the Dark,
Lou Christie,
Avey Tare & Kría Brekkan,
This Heat,
The Gladiators,
Cal Tjader,
Tubeway Army,
Ultra Naté,
Television Personalities,
Eden Ahbez,
Franke,
Joyce Sims,
Morten Harket,
The Shadows of Knight,
Minor Threat,
Minnie Riperton,
Suicide,
The Dead C,
Gang Starr,
Pharaoh Sanders and the Fire Engines,
Unwound,
James Chance & The Contortions,
The Jesus and Mary Chain,
Technova,
Ten City,
Gregory Isaacs,
Frankie Knuckles,
Terror Squad Feat. Camron,
The Martian, The Martian, The Martian, The Martian.
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.