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 Liechtenstein and from Beijing.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Halifax 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 Shuggie Otis to the techno 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 Rekid. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Urselle,
Charles Mingus,
Moebius,
Monolake,
Black Flag,
Justin Hinds & The Dominoes,
Neil Young,
ABC,
Ajijia Myrayebe,
Pylon,
Strawberry Alarm Clock,
Malaria!,
Brass Construction,
Talk Talk,
Reuben Wilson,
Tropical Tobacco,
Fad Gadget,
the Fania All-Stars,
Swans,
The Pretty Things,
Section 25,
Mars,
The Blackbyrds,
This Heat,
Royal Trux,
Sly & The Family Stone,
Peter and Kerry,
Ultramagnetic MC's,
Model 500,
cv313,
Arthur Verocai,
Fear,
These Immortal Souls,
Pulsallama,
Gang Green,
Trumans Water,
Lucky Dragons,
Parry Music,
H. Thieme,
Chris Corsano,
Peter & Gordon,
Ken Boothe,
Dual Sessions,
Bronski Beat,
Tomorrow,
Bobby Byrd,
China Crisis,
kango's stein massive,
Stiv Bators,
OOIOO,
Bizarre Inc.,
Joe Finger,
Josef K,
Colin Newman,
Fluxion,
Freddie Wadling,
Toni Rubio,
Joensuu 1685,
K-Klass,
FM Einheit,
The J.B.'s,
Shoche,
Isaac Hayes,
Magazine, Magazine, Magazine, Magazine.
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.