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 Singapore and from Accra.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Portland 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Lizzy Mercier Descloux to the crunk kids.
I played it at CBGB's.
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 Beasts of Bourbon. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Stockholm Monsters,
Anakelly,
Jimmy McGriff,
Zapp,
Jacques Brel,
Grey Daturas,
Howard Jones,
Blake Baxter,
The United States of America,
Oneida,
Parry Music,
Soft Machine,
CMW,
Richard Hell and the Voidoids,
Yaz,
Jawbox,
The Sound,
Swans,
The Shadows of Knight,
The West Coast Pop Art Experimental Band,
Rhythm & Sound,
Scott Walker + Sunn O))),
Red Lorry Yellow Lorry,
Pantytec,
Avey Tare's Slasher Flicks,
The Standells,
Brothers Johnson,
Eve St. Jones,
Matthew Bourne,
Stiv Bators,
Sight & Sound,
Unrelated Segments,
Lyres,
Animal Collective,
The Gun Club,
Con Funk Shun,
Barry Ungar,
Urselle,
Oblivians,
The Fire Engines,
Arab on Radar,
Bill Wells,
Fluxion,
The Moody Blues,
Camron Feat. Jay Z And Juelz,
Mantronix,
Kenny Larkin,
Panda Bear,
Lonnie Liston Smith,
Average White Band,
Dorothy Ashby,
Tropical Tobacco,
kango's stein massive,
The Blues Magoos,
Tommy Roe,
Gian Franco Pienzio,
Amon Düül II,
Marcia Griffiths,
Moebius,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.