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 Bolivia and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 T.S.O.L. to the disco kids.
I played it at the Troubador.
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 Scratch Acid. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Model 500,
N.O.R.E. Featuring Pharrell,
Kango’s Stein Massive,
Jesper Dahlbäck,
Janne Schatter,
Marmalade,
The Happenings,
Babytalk,
Ash Ra Tempel,
Joe Finger,
John Lydon,
Bobby Sherman,
The Fall,
Shoche,
Lakeside,
La Düsseldorf,
Lower 48,
Supertramp,
The Index,
Boz Scaggs,
David McCallum,
Wire,
Nico,
Barry Ungar,
Bad Manners,
The Tremeloes,
Robert Wyatt,
Thinking Fellers Union Local 282,
James White and The Blacks,
Ultra Naté,
Mandrill,
Bobby Womack,
Brothers Johnson,
Slick Rick,
Max Romeo,
Warren Ellis,
The Black Dice,
Banda Bassotti,
Althea and Donna,
Dennis Brown,
Morten Harket,
Motorama,
Blossom Toes,
Crime,
Todd Terry,
The Gun Club,
Moebius,
Marc Almond,
Gian Franco Pienzio,
Con Funk Shun,
Isaac Hayes,
Sad Lovers and Giants,
The Slits,
Laurel Aitken,
Cymande,
The Vogues,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.