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 Colombia and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 rhodes 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 Röyhkä ja Rättö ja Lehtisalo to the techno 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 The Mighty Diamonds. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every The Divine Comedy 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Warren Ellis,
Ohio Players,
Minnie Riperton,
Dave Gahan,
The Move,
The Red Krayola,
Mantronix,
Goldenarms,
Nas,
Ten City,
Aloha Tigers,
Malaria!,
Country Joe & The Fish,
Nils Olav,
The Dave Clark Five,
Porter Ricks,
Gong,
Alice Coltrane,
Gregory Isaacs,
Lee Hazlewood,
Patti Smith,
Mo-Dettes,
Cameo,
Crispian St. Peters,
Quadrant,
Qualms,
Roy Ayers Ubiquity,
Motorama,
Thinking Fellers Union Local 282,
Big Daddy Kane,
Agent Orange,
Kenny Larkin,
Ornette Coleman,
Fat Boys,
Throbbing Gristle,
The Gories,
Massinfluence,
Underground Resistance,
Jesper Dahlbäck,
Piero Umiliani,
The Electric Prunes,
the Slits,
Pete Rock & C.L. Smooth,
Unrelated Segments,
Sister Nancy,
Organ,
Scrapy,
Mad Mike,
Slick Rick,
Niagra,
Soulsonic Force,
The Vogues,
Electric Light Orchestra,
Radiopuhelimet,
The United States of America,
The Fuzztones,
The Sound,
The West Coast Pop Art Experimental Band,
Marshall Jefferson,
Bootsy's Rubber Band,
Swell Maps,
Heavy D & The Boyz,
Electric Prunes,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.