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 Monaco and from Bremen.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Cairo 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 linndrum 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 Inner City to the rap 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 Popol Vuh. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Los Fastidios,
Carl Craig,
OOIOO,
kango's stein massive,
Y Pants,
Alison Limerick,
Fear,
Ituana,
Peter Gordon & Love of Life Orchestra,
Rosa Yemen,
Unrelated Segments,
Jimmy McGriff,
Khruangbin,
Second Layer,
Alice Coltrane,
The Searchers,
Symarip,
Lonnie Liston Smith,
Jesper Dahlbäck,
Q65,
The Red Krayola,
Nik Kershaw,
Scrapy,
Black Bananas,
Public Enemy,
Bronski Beat,
Connie Case,
Donald Byrd,
Inner City,
The Stooges,
Louis and Bebe Barron,
Black Sheep,
X-101,
The Happenings,
Skarface,
Hasil Adkins,
Joey Negro,
Yellowson,
Echo & the Bunnymen,
Sly & The Family Stone,
Notorious Big And Bone Thugs,
Richard Hell and the Voidoids,
the Fania All-Stars,
Rapeman,
Sparks,
Oneida,
Pussy Galore,
The Slits,
Man Eating Sloth,
Tears for Fears,
Wighnomy Brothers & Robag Wruhme,
Joe Smooth,
Erasure,
Major Organ And The Adding Machine,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mandrill,
Little Man,
D'Angelo,
Accadde A,
The Residents,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.