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 Grenada and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Beijing 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Deadbeat to the disco 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 The Young Rascals. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Chrome,
Brass Construction,
Marmalade,
Mantronix,
The Human League,
In Retrospect,
June Days,
T. Rex,
Matthew Bourne,
the Normal,
Harpers Bizarre,
Minutemen,
Jimmy McGriff,
The Grass Roots,
The Names,
Brick,
Joensuu 1685,
Pet Shop Boys,
Fatback Band,
The Searchers,
Rapeman,
The Detroit Cobras,
Sunsets and Hearts,
Pharaoh Sanders and the Fire Engines,
Oblivians,
Radio Birdman,
Ornette Coleman,
Audionom,
Susan Cadogan,
Wolf Eyes,
The Real Kids,
Mars,
Interpol,
Bobby Womack,
The Remains,
Alison Limerick,
Sound Behaviour,
Mandrill,
Juan Atkins,
Grandmaster Flash and the Furious Five,
Eric Copeland,
MDC,
Anakelly,
Vainqueur,
Kango’s Stein Massive,
World's Most,
Wally Richardson,
Niagra,
ABC,
The Monochrome Set,
Fort Wilson Riot,
New Age Steppers,
Technova,
Siglo XX,
The West Coast Pop Art Experimental Band,
Eric B and Rakim,
Joy Division,
Terrestrial Tones,
the Association,
The Cramps,
48th St. Collective,
Livin' Joy,
Bang On A Can,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.