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 Croatia and from Jakarta.
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 1962 to 1970.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Gil Scott-Heron and Jamie xx to the grime kids.
I played it at Cafe Wha.
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 James Chance & The Contortions. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Tim Buckley,
KRS-One,
Strawberry Alarm Clock,
Interpol,
Pantytec,
Dawn Penn,
Gichy Dan,
Lucky Dragons,
Q65,
Morten Harket,
Roxy Music,
Bush Tetras,
Lafayette Afro Rock Band,
June of 44,
Organ,
Ken Boothe,
The Moody Blues,
The Chocolate Watch Band,
Section 25,
Bronski Beat,
Bootsy's Rubber Band,
James White and The Blacks,
Pete Rock & C.L. Smooth,
Oneida,
Radiopuhelimet,
Ten City,
Gang of Four,
Slick Rick,
Dorothy Ashby,
Banda Bassotti,
Minny Pops,
Slave,
Marc Romboy vs. Booka Shade,
Model 500,
The Gories,
Lungfish,
Spandau Ballet,
Altered Images,
Parry Music,
Pet Shop Boys,
Qualms,
Wally Richardson,
Art Ensemble Of Chicago,
The Real Kids,
The Fuzztones,
FM Einheit,
Angels of Light & Akron/Family,
Prince Buster,
The Dave Clark Five,
Nik Kershaw,
Howard Jones,
Public Enemy,
Brothers Johnson,
Al Stewart,
The Busters,
David Axelrod,
Lalann,
DeepChord presents Echospace,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.