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 Cuba and from Columbus.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Peter and Kerry to the dance 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 Brothers Johnson. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Mandrill,
The Angels of Light,
The Grass Roots,
Lucky Dragons,
Eli Mardock,
Model 500,
Rakim,
Joe Smooth,
Flipper,
Josef K,
Pharoah Sanders,
Pete Rock & C.L. Smooth,
Kerri Chandler,
Notorious Big And Bone Thugs,
Oblivians,
Peter and Kerry,
Jacob Miller,
Dorothy Ashby,
The United States of America,
DJ Style,
LL Cool J,
Fela Kuti,
Erasure,
Tommy Roe,
Vainqueur,
Glambeats Corp.,
Thinking Fellers Union Local 282,
The Pretty Things,
The Slackers,
The Kinks,
Dual Sessions,
Man Eating Sloth,
Ituana,
John Coltrane,
Technova,
Visage,
James Chance & The Contortions,
Max Romeo,
Rowland S Howard / Lydia Lunch,
Manfred Mann's Earth Band,
Cal Tjader,
Average White Band,
Little Man,
The J.B.'s,
kango's stein massive,
Warsaw,
Banda Bassotti,
Maleditus Sound,
The Names,
The Fall,
Zapp,
Reuben Wilson,
Eve St. Jones,
Anakelly,
Fear,
Dead Boys,
Bill Near,
Don Cherry,
Sarah Menescal,
Popol Vuh,
Roy Ayers,
Deakin,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.