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 Ethiopia and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1978.
I'm losing my edge.
To all the kids in Lagos and Manila.
I'm losing my edge to the art-school Tokyo 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 snare sounds with much patience.
I was there when Lou Reed 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 Masters at Work to the techno kids.
I played it at Cafe Wha.
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 10cc. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Lou Reed,
F. McDonald,
Peter Gordon & Love of Life Orchestra,
Agitation Free,
Erasure,
Arab on Radar,
Neu!,
Black Bananas,
Oblivians,
X-102,
Technova,
Bootsy's Rubber Band,
Judy Mowatt,
Jeff Lynne,
The Slackers,
June of 44,
Camron Feat. Jay Z And Juelz,
Nils Olav,
Mantronix,
The Star Department,
Kerri Chandler,
Howard Jones,
Godley & Creme,
Scott Walker + Sunn O))),
Surgeon,
MDC,
The Velvet Underground,
Laurel Aitken,
Moss Icon,
Bizarre Inc.,
Jacob Miller,
Peter & Gordon,
Depeche Mode,
A Flock of Seagulls,
Big Daddy Kane,
Black Sheep,
Dead Boys,
Charles Mingus,
The Associates,
Guru Guru,
Sister Nancy,
Gang Green,
Main Source,
Bad Manners,
Banda Bassotti,
Hashim,
Al Stewart,
New York Dolls,
Yaz,
The Dead C,
Nick Cave & The Bad Seeds,
John Holt,
The Residents,
Tears for Fears,
Bronski Beat,
Bootsy Collins,
Orchestral Manoeuvres in the Dark,
David Bowie,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.