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 Guatemala and from Copenhagen.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
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 mellotron 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 Bootsy Collins to the punk kids.
I played it at the Hacienda.
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 Flesh Eaters. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Larry & the Blue Notes,
Crash Course in Science,
Technova,
Mars,
Barbara Tucker,
In Retrospect,
La Düsseldorf,
Los Fastidios,
Unwound,
Gregory Isaacs,
Minny Pops,
Steve Hackett,
Yusef Lateef,
Masters at Work,
The Residents,
Bobby Womack,
Lee Hazlewood,
Lalo Schifrin,
Siouxsie and the Banshees,
The Moleskins,
Reuben Wilson,
Hardrive,
Rakim,
Thinking Fellers Union Local 282,
Marmalade,
Eric Copeland,
Nas,
Kas Product,
Blancmange,
Orchestral Manoeuvres in the Dark,
Monolake,
Chris Corsano,
Jawbox,
Ronan,
Von Mondo,
Scott Walker,
Joey Negro,
The Smiths,
Jandek,
The Monochrome Set,
Marshall Jefferson,
X-101,
Nick Cave & The Bad Seeds,
Japan,
Judy Mowatt,
Model 500,
The Evens,
Outsiders,
Tubeway Army,
ABBA,
Tears for Fears,
the Association,
The Modern Lovers,
Carl Craig,
Half Japanese,
Roy Ayers,
Hasil Adkins,
Peter and Kerry,
David Bowie,
Groovy Waters,
The Black Dice,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.