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 China and from Portland.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Rapeman to the electroclash 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 Alison Limerick. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Heavy D & The Boyz,
Leonard Cohen,
Jeff Mills,
Wire,
Soft Cell,
Popol Vuh,
Radiohead,
The Cure,
Clear Light,
Altered Images,
Slick Rick,
Kayak,
Derrick May,
Dark Day,
Notorious Big And Bone Thugs,
Kool G Rap & DJ Polo,
Harmonia,
Reuben Wilson,
Rahsaan Roland Kirk,
The Standells,
L. Decosne,
Scratch Acid,
Drive Like Jehu,
The Martian,
LL Cool J,
Dead Boys,
Bronski Beat,
Monks,
T. Rex,
The Mojo Men,
Jesper Dahlbäck,
Aaron Thompson,
Sarah Menescal,
The Real Kids,
Newcleus,
Nik Kershaw,
Nico,
Pantytec,
Roy Ayers Ubiquity,
MC5,
Don Cherry,
Robert Görl,
Magma,
Cheater Slicks,
Circle Jerks,
Brand Nubian,
Massinfluence,
Pierre Henry,
The Searchers,
Ultravox,
Bob Dylan,
Ludus,
Boz Scaggs,
Ten City,
Gang Gang Dance,
the Soft Cell,
Can,
Pharoah Sanders,
Faust,
Andrew Hill,
Frankie Knuckles,
The Residents, The Residents, The Residents, The Residents.
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.