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 Tonga and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ 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 Camberwell Now to the rap kids.
I played it at the 40 Watt.
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 Michelle Simonal. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every The Doors 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Intrusion,
The Slackers,
Lafayette Afro Rock Band,
Gabor Szabo,
Bill Wells,
Mark Hollis,
Amon Düül II,
Royal Trux,
Marvin Gaye,
Ornette Coleman,
Marc Romboy vs. Booka Shade,
Suicide,
Gang of Four,
Infiniti,
Roy Ayers,
June Days,
Ituana,
Eli Mardock,
Goldenarms,
Silicon Teens,
Sexual Harrassment,
Gong,
The Wake,
X-Ray Spex,
Y Pants,
Ronan,
Model 500,
Subhumans,
Deutsch Amerikanische Freundschaft,
Ash Ra Tempel,
the Soft Cell,
De La Soul & Jungle Brothers,
Harpers Bizarre,
The Monks,
B.T. Express,
Warsaw,
Country Joe & The Fish,
Alison Limerick,
Excepter,
The Cosmic Jokers,
The Move,
the Human League,
Ludus,
The Gap Band,
Jacques Brel,
Toni Rubio,
Ossler,
Flash Fearless,
Glambeats Corp.,
Wighnomy Brothers & Robag Wruhme,
Scott Walker,
Sun Ra Arkestra,
Lonnie Liston Smith,
The Beau Brummels,
Albert Ayler,
Juan Atkins,
Darondo,
the Swans,
Mission of Burma,
Clear Light,
Kauko Röyhkä ja Narttu,
Fear, Fear, Fear, Fear.
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.