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 Dominican Republic and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1975.
I'm losing my edge.
To all the kids in New York and Calgary.
I'm losing my edge to the art-school Taipei 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 Aswad to the techno kids.
I played it at the Crocodile.
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 Magazine. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Scrapy 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
James White and The Blacks,
Bauhaus,
The Chocolate Watch Band,
Country Joe & The Fish,
Depeche Mode,
Joy Division,
Johnny Clarke,
Electric Light Orchestra,
Public Image Ltd.,
Brick,
The Fuzztones,
Bronski Beat,
Ultimate Spinach,
Notorious BIG live in Amsterdam,
E-Dancer,
Skarface,
Mars,
Mandrill,
Electric Prunes,
Toni Rubio,
Traffic Nightmare,
Rod Modell,
Desert Stars,
Warren Ellis,
Sam Rivers,
Freddie Wadling,
Tomorrow,
Zero Boys,
Major Organ And The Adding Machine,
Robert Hood,
Dorothy Ashby,
Sonic Youth,
Guru Guru,
Ajijia Myrayebe,
Danielle Patucci,
Agent Orange,
Janne Schatter,
Terrestrial Tones,
Captain Beefheart & His Magic Band,
Sound Behaviour,
Neil Young,
Fela Kuti,
The Flesh Eaters,
Marine Girls,
John Cale,
Kauko Röyhkä ja Narttu,
Scan 7,
Minnie Riperton,
Black Sheep,
kango's stein massive,
Godley & Creme,
Nirvana,
Nils Olav,
Donald Byrd,
Matthew Bourne,
Howard Jones,
Joey Negro,
The Cramps,
The Fortunes,
Chrome,
Pagans,
The West Coast Pop Art Experimental Band,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.