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 Laos and from Columbus.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Beijing.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Dorothy Ashby to the grime kids.
I played it at the Roxy.
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 Gian Franco Pienzio. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Y Pants,
The Cure,
Wolf Eyes,
Crime,
Siouxsie and the Banshees,
Ash Ra Tempel,
Soul II Soul,
Sexual Harrassment,
Alphaville,
Rotary Connection,
Sarah Menescal,
D'Angelo,
Underground Resistance,
De La Soul & Jungle Brothers,
Lyres,
Todd Rundgren,
Amon Düül,
MDC,
DeepChord presents Echospace,
Stereo Dub,
Crispian St. Peters,
Chris & Cosey,
Michelle Simonal,
Sparks,
Morten Harket,
The Cramps,
Hardrive,
Howard Jones,
Ossler,
Pete Rock & C.L. Smooth,
Hashim,
DNA,
Eve St. Jones,
Porter Ricks,
Radiohead,
Mission of Burma,
Kango’s Stein Massive,
OOIOO,
Arthur Verocai,
The Evens,
Wings,
Anakelly,
Röyhkä ja Rättö ja Lehtisalo,
Andrew Hill,
Crash Course in Science,
Unrelated Segments,
The Moody Blues,
EPMD,
B.T. Express,
The Human League,
Barclay James Harvest,
Royal Trux,
the Swans,
Ten City,
The Modern Lovers,
Stiv Bators,
Terrestrial Tones,
Procol Harum,
Faust,
Black Pus,
Mars,
The Techniques,
The Leaves, The Leaves, The Leaves, The Leaves.
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.