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 Greece and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1975.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Johannesburg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 Reuben Wilson to the dance kids.
I played it at the 40 Watt.
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 MDC. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Joe Smooth,
Newcleus,
Gil Scott-Heron & Brian Jackson,
Lebanon Hanover,
the Association,
Skriet,
Mary Jane Girls,
Ludus,
Swans,
MDC,
Isaac Hayes,
Gang Gang Dance,
Maleditus Sound,
X-102,
Arthur Verocai,
Jerry Gold Smith,
Andrew Hill,
Hardrive,
Brothers Johnson,
The Names,
The Dirtbombs,
Alphaville,
Country Joe & The Fish,
Cheater Slicks,
Boz Scaggs,
Liliput,
Joey Negro,
The Buckinghams,
Beasts of Bourbon,
The United States of America,
Max Romeo,
The Offenders,
Underground Resistance,
Groovy Waters,
Main Source,
Jacques Brel,
The Happenings,
Terry Callier,
Harpers Bizarre,
Barbara Tucker,
Deepchord,
Alton Ellis,
Hashim,
8 Eyed Spy,
Nick Cave & The Bad Seeds,
the Human League,
Smog,
Todd Rundgren,
Janne Schatter,
Public Enemy,
Kings Of Tomorrow,
Bootsy Collins,
The Smiths,
Q and Not U,
48th St. Collective,
Bobby Sherman,
Stockholm Monsters,
Bobby Byrd,
The Wake,
Sun Ra,
The Jesus and Mary Chain,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.