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 Cameroon 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 1963 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Beijing.
I'm losing my edge to the art-school Mexico City 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 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 Steve Hackett to the dance kids.
I played it at the Astoria.
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 Fad Gadget. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Bang on a Can All-Stars,
The Skatalites,
Ralphi Rosario,
Barbara Tucker,
Captain Beefheart & His Magic Band,
Icehouse,
Skarface,
The Standells,
The J.B.'s,
Hoover,
Organ,
Bob Dylan,
Cal Tjader,
Flamin' Groovies,
Electric Prunes,
The Neon Judgement,
Eyeless In Gaza,
Blancmange,
Stetsasonic,
DJ Style,
Gong,
Letta Mbulu,
Franke,
Loose Ends,
Jandek,
Khruangbin,
Angry Samoans,
Newcleus,
Michelle Simonal,
Lou Reed,
Donny Hathaway,
Deutsch Amerikanische Freundschaft,
Nirvana,
Visage,
Animal Collective,
Johnny Clarke,
John Lydon,
Brand Nubian,
DNA,
David Axelrod,
Agent Orange,
cv313,
The Blues Magoos,
Brass Construction,
Vaughan Mason & Crew,
Jesper Dahlbäck,
Television,
the Soft Cell,
New Age Steppers,
Sly & The Family Stone,
Pagans,
Terror Squad Feat. Camron,
The Last Poets,
L. Decosne,
Rotary Connection,
Fatback Band,
Crime,
David McCallum,
The Sisters of Mercy,
Talk Talk,
Grandmaster Flash and the Furious Five,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.