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 United Kingdom and from Bologna.
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 Halifax and Columbus.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Frankie Knuckles to the rap 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 Pylon. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Desert Stars 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
The Moody Blues,
The Fugs,
Sexual Harrassment,
Alison Limerick,
The Invisible,
Drexciya,
Kurtis Blow,
The Detroit Cobras,
Fugazi,
Black Bananas,
The Residents,
Bad Manners,
The Cosmic Jokers,
Jesper Dahlback,
Nirvana,
Orchestral Manoeuvres in the Dark,
Barbara Tucker,
The Alarm Clocks,
Guru Guru,
Joensuu 1685,
Organ,
Kango’s Stein Massive,
The Doors,
The Seeds,
Delta 5,
Soul Sonic Force,
Manfred Mann's Earth Band,
Spandau Ballet,
The Smoke,
T.S.O.L.,
Andrew Ashong & Theo Parrish,
Tears for Fears,
Niagra,
Unrelated Segments,
MDC,
Shuggie Otis,
L. Decosne,
Suburban Knight,
Lalo Schifrin,
Lizzy Mercier Descloux,
the Soft Cell,
Rod Modell,
Rhythm & Sound,
Unwound,
The Royal Family And The Poor,
Make Up,
DeepChord presents Echospace,
The Vogues,
Reuben Wilson,
Brass Construction,
Crime,
Supertramp,
Derrick May,
Nas,
The Sonics,
Pantaleimon,
Wire,
John Holt,
Barclay James Harvest,
The Techniques,
Camberwell Now,
Michelle Simonal,
The Star Department, The Star Department, The Star Department, The Star Department.
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.