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 Belize and from Madrid.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Lyon 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 sitar 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 Spandau Ballet to the electroclash kids.
I played it at the Crocodile.
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 Larry & the Blue Notes. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Liaisons Dangereuses,
Swans,
Nation of Ulysses,
The Smiths,
Isaac Hayes,
The Toasters,
Jandek,
Monks,
Joyce Sims,
Lou Reed,
The Cowsills,
Orchestral Manoeuvres in the Dark,
Peter & Gordon,
The Cure,
A Certain Ratio,
Max Romeo,
Pete Rock & C.L. Smooth,
Lakeside,
Anakelly,
X-101,
Cluster,
Idris Muhammad,
Steve Hackett,
Man Parrish,
The Detroit Cobras,
Maurizio,
Tubeway Army,
Model 500,
The Velvet Underground,
New Order,
Loose Ends,
Stetsasonic,
Gong,
Can,
Sister Nancy,
Aaron Thompson,
Pharoah Sanders,
Negative Approach,
Lou Christie,
Rowland S Howard / Lydia Lunch,
The Names,
Fugazi,
Subhumans,
Joensuu 1685,
Electric Light Orchestra,
Minor Threat,
The Pop Group,
Harry Pussy,
The Fuzztones,
Porter Ricks,
Arthur Verocai,
Ituana,
Drexciya,
Quando Quango,
the Human League,
Lucky Dragons,
the Normal,
Be Bop Deluxe,
Slave,
The Modern Lovers,
Crime,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.