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 Austria and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Tokyo 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 marimba 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 Bootsy's Rubber Band to the crunk kids.
I played it at the Astoria.
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 Mr. Review. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal rap 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 a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Danielle Patucci,
Scratch Acid,
Magazine,
The Pop Group,
Motorama,
Porter Ricks,
Moss Icon,
Marcia Griffiths,
Goldenarms,
Bobbi Humphrey,
Grandmaster Flash and the Furious Five,
DJ Sneak,
Jacques Brel,
The Busters,
Bronski Beat,
Siglo XX,
The Offenders,
Sound Behaviour,
Accadde A,
Scientists,
Andrew Ashong & Theo Parrish,
Juan Atkins,
Swell Maps,
Charles Mingus,
The Cosmic Jokers,
Unwound,
Roxy Music,
Essential Logic,
The Blues Magoos,
The Fire Engines,
Kool G Rap & DJ Polo,
The Golliwogs,
Public Enemy,
The Real Kids,
Todd Terry,
Lou Christie,
Jerry Gold Smith,
Main Source,
Flamin' Groovies,
The Moody Blues,
Mantronix,
the Fania All-Stars,
Freddie Wadling,
Orchestral Manoeuvres in the Dark,
Shoche,
Nik Kershaw,
Toni Rubio,
Lalo Schifrin,
Chris & Cosey,
Black Flag,
Mad Mike,
The Techniques,
Nico,
Circle Jerks,
Alphaville,
Lungfish,
Eyeless In Gaza,
Robert Hood,
Camberwell Now,
Fear,
Glambeats Corp.,
Boredoms, Boredoms, Boredoms, Boredoms.
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.