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 Egypt and from Calgary.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Beijing 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Gichy Dan to the rock 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 Loose Ends. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Stockholm Monsters 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 '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Soul Sonic Force record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
The Golliwogs,
48th St. Collective,
The Move,
Marcia Griffiths,
Robert Hood,
Gil Scott-Heron and Jamie xx,
Delon & Dalcan,
The Leaves,
Easy Going,
A Certain Ratio,
Orchestral Manoeuvres in the Dark,
The Index,
Royal Trux,
Flamin' Groovies,
Pharaoh Sanders and the Fire Engines,
The Standells,
Massinfluence,
Patti Smith,
AZ,
Flipper,
Pete Rock & C.L. Smooth,
Sun Ra,
Colin Newman,
L. Decosne,
Echo & the Bunnymen,
Kerrie Biddell,
The Beau Brummels,
The Slackers,
Lindisfarne,
Television,
June of 44,
Quando Quango,
Faraquet,
Lalann,
Gerry Rafferty,
The Real Kids,
Glambeats Corp.,
The Cowsills,
The Doobie Brothers,
The Fall,
Lyres,
The West Coast Pop Art Experimental Band,
Qualms,
The Detroit Cobras,
The Fire Engines,
Gang Gang Dance,
Clear Light,
R.M.O.,
Peter and Kerry,
Heaven 17,
Traffic Nightmare,
Erasure,
Rhythim Is Rhythim,
Bobby Womack,
Surgeon,
Pierre Henry,
Jawbox,
Oppenheimer Analysis,
EPMD,
K-Klass,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.