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 Argentina and from Lagos.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
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 Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Man Parrish to the grime 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 In Retrospect. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every The Modern Lovers 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Kool G Rap & DJ Polo,
Niagra,
Arthur Verocai,
Monks,
Bang on a Can All-Stars,
Arcadia,
Traffic Nightmare,
Faraquet,
Donald Byrd,
The Birthday Party,
Roxy Music,
The American Breed,
Eric B and Rakim,
Glenn Branca,
The Vogues,
The Real Kids,
Art Ensemble Of Chicago,
Marvin Gaye,
Rapeman,
Susan Cadogan,
Tom Boy,
John Cale,
Rahsaan Roland Kirk,
Brick,
Half Japanese,
Yaz,
Technova,
Johnny Clarke,
Gil Scott-Heron & Brian Jackson,
Japan,
Electric Light Orchestra,
Pylon,
Bobby Sherman,
Black Pus,
Andrew Ashong & Theo Parrish,
Stereo Dub,
Gong,
Henry Cow,
Deadbeat,
Rod Modell,
Grauzone,
Anakelly,
Ohio Players,
The Fugs,
Talk Talk,
T.S.O.L.,
Suicide,
Newcleus,
Curtis Mayfield,
Outsiders,
Jerry Gold Smith,
Jesper Dahlback,
The Walker Brothers,
Amon Düül II,
Skarface,
Pharaoh Sanders and the Fire Engines,
Vladislav Delay,
Iggy Pop,
Fifty Foot Hose,
Soul Sonic Force,
The Wake,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.