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 Kiribati and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Calgary 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 Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Rhythm & Sound to the punk 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 Q65. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Curtis Mayfield,
Thinking Fellers Union Local 282,
Fifty Foot Hose,
Eddi Front,
The Zeros,
New Order,
Average White Band,
Stetsasonic,
Derrick May,
Andrew Hill,
Davy DMX,
Massinfluence,
Tubeway Army,
Quadrant,
Los Fastidios,
Little Man,
Newcleus,
Zapp,
Peter Gordon & Love of Life Orchestra,
The Slackers,
Moebius,
Traffic Nightmare,
Unrelated Segments,
Index,
Pharaoh Sanders and the Fire Engines,
DeepChord presents Echospace,
Bob Dylan,
X-Ray Spex,
Skriet,
Big Daddy Kane,
Spandau Ballet,
Angels of Light & Akron/Family,
Porter Ricks,
Warsaw,
Minutemen,
Jacques Brel,
Major Organ And The Adding Machine,
Marshall Jefferson,
Swell Maps,
Malaria!,
the Soft Cell,
Gian Franco Pienzio,
Q65,
Young Marble Giants,
Gregory Isaacs,
Pantytec,
The Victims,
Blossom Toes,
Loose Ends,
Albert Ayler,
Whodini,
Althea and Donna,
Matthew Bourne,
Lindisfarne,
cv313,
LL Cool J,
Main Source,
Rapeman,
The Smoke,
Deakin, Deakin, Deakin, Deakin.
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.