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 Jordan and from Glasgow.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Lille 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Marvin Gaye to the electroclash kids.
I played it at the Spitz.
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 Busters. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Aaron Thompson 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 '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Lyres,
Section 25,
Wighnomy Brothers & Robag Wruhme,
Stockholm Monsters,
The Human League,
Ajijia Myrayebe,
Gil Scott-Heron & Brian Jackson,
Richard Hell and the Voidoids,
The American Breed,
Warren Ellis,
Intrusion,
The Dead C,
the Fania All-Stars,
Dr. Dre and Snoop Doggy Dog,
Kas Product,
KRS-One,
Moby Grape,
Electric Light Orchestra,
Ossler,
Porter Ricks,
Archie Shepp,
The Doors,
The Divine Comedy,
Buzzcocks,
New Age Steppers,
Morten Harket,
Funkadelic,
Oblivians,
The Walker Brothers,
The Count Five,
Rakim,
Thompson Twins,
Glenn Branca,
Crispian St. Peters,
Flash Fearless,
The West Coast Pop Art Experimental Band,
Warsaw,
Roy Ayers,
Notorious BIG live in Amsterdam,
the Sonics,
Sällskapet,
Rahsaan Roland Kirk,
Malaria!,
Scrapy,
E-Dancer,
Heaven 17,
Grandmaster Flash and the Furious Five,
In Retrospect,
cv313,
Negative Approach,
Alphaville,
Radio Birdman,
Sun Ra,
Ituana,
Howard Jones,
Dead Boys,
Röyhkä ja Rättö ja Lehtisalo,
Liliput,
Depeche Mode,
Matthew Halsall,
Stereo Dub,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.