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 Taiwan and from Accra.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Milan and Paris.
I'm losing my edge to the art-school Paris 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 spring reverb 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 Symarip to the grunge kids.
I played it at the 40 Watt.
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 Nick Fraelich. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
the Association,
Iggy Pop,
Eli Mardock,
Severed Heads,
Funkadelic,
Nik Kershaw,
Be Bop Deluxe,
Subhumans,
Dennis Brown,
Slick Rick,
Dawn Penn,
Flipper,
Technova,
Neil Young,
Gichy Dan,
Audionom,
UT,
Rekid,
Jesper Dahlback,
Jacques Brel,
Soft Machine,
Sam Rivers,
Kerri Chandler,
Neil Young & Crazy Horse,
Moss Icon,
The Offenders,
Easy Going,
Metal Thangz,
The Techniques,
Minor Threat,
Absolute Body Control,
Ronan,
Marc Almond,
Aaron Thompson,
Schoolly D,
Heaven 17,
Jesper Dahlbäck,
Fort Wilson Riot,
Eric Dolphy,
Drexciya,
ABC,
Electric Light Orchestra,
Gil Scott Heron,
Sun Ra,
The Martian,
Porter Ricks,
Marc Romboy vs. Booka Shade,
Kevin Saunderson,
Fear,
Lyres,
Crime,
Silicon Teens,
Eric Copeland,
Reuben Wilson,
Louis and Bebe Barron,
Bauhaus,
Reagan Youth,
Lou Christie,
Rod Modell,
Chris & Cosey,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.