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 Turkey and from Portland.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Portland.
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 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 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 Public Enemy to the dance 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 Oneida. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Remains,
Shoche,
Das Ding,
Ponytail,
Ossler,
The Moleskins,
Mars,
kango's stein massive,
The Blues Magoos,
The West Coast Pop Art Experimental Band,
EPMD,
Mission of Burma,
Vladislav Delay,
Trumans Water,
Davy DMX,
Super Lover Cee & Casanova Rud,
Skaos,
Bang on a Can All-Stars,
Hardrive,
The Fortunes,
Yaz,
10cc,
Black Sheep,
Jeru the Damaja,
Peter Gordon & Love of Life Orchestra,
Susan Cadogan,
Camron Feat. Memphis Bleek And Beenie Seigel,
T. Rex,
Ornette Coleman,
Carl Craig,
Amon Düül,
Suicide,
Zapp,
Chris & Cosey,
Kevin Saunderson,
Michelle Simonal,
The Gladiators,
Eli Mardock,
Archie Shepp,
John Coltrane,
Hoover,
Make Up,
Bizarre Inc.,
The Sisters of Mercy,
Quantec,
Tres Demented,
Sad Lovers and Giants,
Second Layer,
Pere Ubu,
Letta Mbulu,
Jeff Mills,
The Index,
the Association,
Gichy Dan,
a-ha,
The Wake,
Essential Logic,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.