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 Togo and from Beijing.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Glasgow 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 808 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 Roy Ayers Ubiquity 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 Ronan. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal grime 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Bill Wells,
The Saints,
Neil Young & Crazy Horse,
X-Ray Spex,
The Searchers,
Pylon,
Procol Harum,
Deepchord,
The Sound,
Eric Copeland,
The Cramps,
Ronan,
Cheater Slicks,
James Chance & The Contortions,
Pharoah Sanders,
Infiniti,
Fat Boys,
Matthew Bourne,
Robert Hood,
The Evens,
The Blackbyrds,
Rotary Connection,
Pole,
Amon Düül,
The Pop Group,
Audionom,
Soulsonic Force,
Curtis Mayfield,
The Wake,
Harmonia,
Peter Gordon & Love of Life Orchestra,
Dual Sessions,
Iggy Pop,
Smog,
Electric Prunes,
the Swans,
Graham Central Station,
Ossler,
Avey Tare & Kría Brekkan,
Erykah Badu,
Mr. Review,
Red Lorry Yellow Lorry,
Lee Hazlewood,
Roxy Music,
OOIOO,
The Black Dice,
Brothers Johnson,
E-Dancer,
Duran Duran,
Richard Hell and the Voidoids,
The Doobie Brothers,
Arcadia,
Spandau Ballet,
The Cosmic Jokers,
Clear Light,
The Toasters,
Franke,
Scion,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.