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 Trinidad & Tobago and from Shanghai.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Bologna 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 808 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 Barrington Levy to the crunk kids.
I played it at the Hacienda.
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 Derrick May. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every DJ Style 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Marine Girls,
Blancmange,
Jandek,
Rod Modell,
Siouxsie and the Banshees,
Desert Stars,
Tomorrow,
Erykah Badu,
Marc Almond,
Deadbeat,
Major Organ And The Adding Machine,
Bauhaus,
Second Layer,
Dawn Penn,
Be Bop Deluxe,
a-ha,
Thee Headcoats,
Harry Pussy,
Black Bananas,
Joensuu 1685,
The Buckinghams,
Don Cherry,
Cluster,
Fela Kuti,
Parry Music,
Fatback Band,
The Sound,
The United States of America,
Gerry Rafferty,
Model 500,
Juan Atkins,
The Wake,
Strawberry Alarm Clock,
Al Stewart,
K-Klass,
UT,
Minor Threat,
Severed Heads,
A Certain Ratio,
Ossler,
Scott Walker,
Hardrive,
The Last Poets,
Sam Rivers,
Charles Mingus,
D'Angelo,
Oppenheimer Analysis,
Blossom Toes,
Kool G Rap & DJ Polo,
Von Mondo,
Colin Newman,
Marcia Griffiths,
Sunsets and Hearts,
The Young Rascals,
Marmalade,
The Birthday Party,
The Techniques,
The Alarm Clocks,
The Fall,
Ken Boothe,
Fluxion,
Warren Ellis,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.