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 Liechtenstein and from Winnipeg.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Seoul 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 1962 at the first Guess Who practice in a loft in Winnipeg.
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 Marine Girls to the grime 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 Bobby Hutcherson. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Kurtis Blow,
The Techniques,
X-102,
Sixth Finger,
Urselle,
Strawberry Alarm Clock,
Bobby Womack,
Goldenarms,
Tears for Fears,
Isaac Hayes,
Cameo,
Los Fastidios,
Vaughan Mason & Crew,
The Royal Family And The Poor,
Drive Like Jehu,
Justin Hinds & The Dominoes,
Magazine,
The Pop Group,
Byron Stingily,
Sonny Sharrock,
Crash Course in Science,
Soft Cell,
the Swans,
Maurizio,
Be Bop Deluxe,
Little Man,
Sexual Harrassment,
Rhythm & Sound,
Louis and Bebe Barron,
The Birthday Party,
Terry Callier,
The Grass Roots,
Basic Channel,
Lucky Dragons,
The Durutti Column,
JFA,
Youth Brigade,
Selector Dub Narcotic,
Liaisons Dangereuses,
Stereo Dub,
Mad Mike,
The Offenders,
Ajijia Myrayebe,
Clear Light,
Eyeless In Gaza,
Lafayette Afro Rock Band,
The Mummies,
MDC,
Motorama,
Gerry Rafferty,
The J.B.'s,
The Toasters,
In Retrospect,
Grandmaster Flash and the Furious Five,
Alphaville,
The Cosmic Jokers,
Kings Of Tomorrow,
Neu!,
The Count Five,
Prince Buster,
Altered Images,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.