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 Haiti and from Taipei.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Portland.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Babytalk to the disco kids.
I played it at Trash.
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 Country Teasers. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Soulsonic Force,
Heavy D & The Boyz,
Stockholm Monsters,
Liaisons Dangereuses,
Pole,
Jacob Miller,
Unwound,
The Misunderstood,
Boogie Down Productions,
Eric Copeland,
The Cramps,
Lebanon Hanover,
Bang on a Can All-Stars,
Matthew Halsall,
The Happenings,
Freddie Wadling,
Gregory Isaacs,
Bang On A Can,
Robert Wyatt,
The Dave Clark Five,
Marshall Jefferson,
Ronan,
Crispy Ambulance,
Gil Scott-Heron and Jamie xx,
Grey Daturas,
Minnie Riperton,
Chris & Cosey,
Aaron Thompson,
Gichy Dan,
Anakelly,
Skriet,
Urselle,
Derrick Morgan,
Super Lover Cee & Casanova Rud,
Fluxion,
John Holt,
The Cosmic Jokers,
Los Fastidios,
Shoche,
Outsiders,
David McCallum,
John Lydon,
Crime,
Black Moon,
Kool G Rap & DJ Polo,
Cheater Slicks,
Circle Jerks,
Boredoms,
Mad Mike,
Glambeats Corp.,
John Coltrane,
The Skatalites,
The Gladiators,
A Flock of Seagulls,
Deadbeat,
Joe Finger,
The United States of America,
Reagan Youth,
Marine Girls,
Marc Romboy vs. Booka Shade,
Scion,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.