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 Antigua and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Tokyo 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 spring reverb 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 Judy Mowatt to the techno 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 Dual Sessions. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Tropical Tobacco,
The Zeros,
Siglo XX,
Roxy Music,
Clear Light,
Kenny Larkin,
Sandy B,
Rakim,
Ludus,
Wighnomy Brothers & Robag Wruhme,
Monks,
Gang Starr,
Sly & The Family Stone,
Hoover,
Mandrill,
The Shadows of Knight,
Freddie Wadling,
Television,
Urselle,
the Fania All-Stars,
the Swans,
Qualms,
Radiopuhelimet,
Das Ding,
Dr. Dre and Snoop Doggy Dog,
Iggy Pop,
Duran Duran,
Agent Orange,
Nick Fraelich,
Young Marble Giants,
Lower 48,
Louis and Bebe Barron,
Grey Daturas,
Sexual Harrassment,
Goldenarms,
Larry & the Blue Notes,
Siouxsie and the Banshees,
Ultra Naté,
John Coltrane,
Soft Machine,
Kayak,
Dual Sessions,
Essential Logic,
Nas,
Sun City Girls,
Harry Pussy,
Jeff Mills,
Theoretical Girls,
Loose Ends,
Robert Hood,
La Düsseldorf,
The Associates,
Blancmange,
London Community Gospel Choir,
Main Source,
Cecil Taylor,
Alice Coltrane,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.