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 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 1960 to 1978.
I'm losing my edge.
To all the kids in Calgary and Halifax.
I'm losing my edge to the art-school Lagos 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 808 sounds with much patience.
I was there when Robert Palmer 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 Lizzy Mercier Descloux to the dance kids.
I played it at Cafe Wha.
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 The Toasters. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Siglo XX,
10cc,
The Star Department,
Bootsy Collins,
Altered Images,
Donny Hathaway,
48th St. Collective,
Magma,
Jerry Gold Smith,
Fort Wilson Riot,
Sunsets and Hearts,
David Axelrod,
Dark Day,
Rosa Yemen,
Minutemen,
Saccharine Trust,
Wasted Youth,
Massinfluence,
Jeff Lynne,
Gang Green,
Intrusion,
Deepchord,
Brass Construction,
Thompson Twins,
Ken Boothe,
Sandy B,
Joyce Sims,
Black Bananas,
The American Breed,
Echospace,
The Dead C,
Swans,
Tim Buckley,
The Martian,
Avey Tare & Kría Brekkan,
Flipper,
Charles Mingus,
Infiniti,
Joey Negro,
Scrapy,
The Pretty Things,
Bobby Sherman,
Tomorrow,
UT,
Barclay James Harvest,
DNA,
Eli Mardock,
Royal Trux,
EPMD,
Delon & Dalcan,
The Move,
Pet Shop Boys,
Vaughan Mason & Crew,
The Monochrome Set,
Skarface,
Interpol,
Jesper Dahlback,
The Jesus and Mary Chain,
One Last Wish,
The Gladiators,
cv313,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.