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 Panama and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Calgary 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 chamberlin 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 Jesper Dahlbäck 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 Ohio Players. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
A Certain Ratio,
MDC,
Delta 5,
Girls At Our Best!,
Michelle Simonal,
Bronski Beat,
Zapp,
John Lydon,
Steve Hackett,
Thompson Twins,
The Mummies,
Mars,
Cabaret Voltaire,
In Retrospect,
Khruangbin,
Sun Ra,
Ash Ra Tempel,
Gang Gang Dance,
The Walker Brothers,
Visage,
Lucky Dragons,
Lou Reed,
Thinking Fellers Union Local 282,
Glenn Branca,
Sound Behaviour,
Eurythmics,
Bobby Byrd,
Larry & the Blue Notes,
Tom Boy,
Marc Romboy vs. Booka Shade,
Pharoah Sanders,
Dark Day,
The Wake,
Red Lorry Yellow Lorry,
Rites of Spring,
The Royal Family And The Poor,
Wolf Eyes,
A Flock of Seagulls,
Fifty Foot Hose,
Rapeman,
Warsaw,
Rahsaan Roland Kirk,
The Electric Prunes,
June of 44,
Cheater Slicks,
Avey Tare & Kría Brekkan,
Tears for Fears,
Idris Muhammad,
June Days,
Brick,
Y Pants,
Stiv Bators,
Nils Olav,
Excepter,
Duran Duran,
Byron Stingily,
K-Klass,
New York Dolls,
Bob Dylan,
Make Up,
Camberwell Now,
Connie Case, Connie Case, Connie Case, Connie Case.
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.