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 Venezuela 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 1965 to 1976.
I'm losing my edge.
To all the kids in Seoul and Halifax.
I'm losing my edge to the art-school Jakarta 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 guitar 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 The Velvet Underground to the disco 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 Amazonics. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Rapeman,
Parry Music,
X-Ray Spex,
the Germs,
Young Marble Giants,
Electric Light Orchestra,
Neu!,
Lucky Dragons,
Vladislav Delay,
Mr. Review,
Man Parrish,
The Misunderstood,
John Coltrane,
T.S.O.L.,
The Happenings,
Pharaoh Sanders and the Fire Engines,
Bobby Sherman,
The Sound,
Stereo Dub,
Kurtis Blow,
Roy Ayers Ubiquity,
Rhythm & Sound,
Hashim,
Scientists,
Smog,
Make Up,
Prince Buster,
Public Image Ltd.,
Funkadelic,
Jerry Gold Smith,
Underground Resistance,
Supertramp,
Sugar Minott,
David Axelrod,
Rufus Thomas,
Quando Quango,
The Tremeloes,
Nation of Ulysses,
Brothers Johnson,
Zero Boys,
Radio Birdman,
Theoretical Girls,
Lou Reed & Metallica,
Connie Case,
Notorious BIG live in Amsterdam,
Lafayette Afro Rock Band,
Swans,
Idris Muhammad,
Throbbing Gristle,
Gabor Szabo,
Curtis Mayfield,
Tres Demented,
Camberwell Now,
Brand Nubian,
The Knickerbockers,
Henry Cow,
The Cure,
The Doors,
Visage,
Echospace,
Lakeside, Lakeside, Lakeside, Lakeside.
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.