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 Monaco and from Taipei.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Manila 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 arpeggiator 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 EPMD to the crunk 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 Public Image Ltd.. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every The Music Machine 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
JFA,
Yazoo,
The Modern Lovers,
Cheater Slicks,
Kevin Saunderson,
Avey Tare & Kría Brekkan,
Scion,
Ornette Coleman,
Todd Rundgren,
Pierre Henry,
Khruangbin,
Royal Trux,
Neil Young & Crazy Horse,
Pantytec,
Dead Boys,
Fugazi,
Bob Dylan,
The West Coast Pop Art Experimental Band,
Sparks,
James Chance & The Contortions,
Albert Ayler,
The Alarm Clocks,
Niagra,
Sam Rivers,
The Monochrome Set,
Camberwell Now,
Essential Logic,
Big Daddy Kane,
Boogie Down Productions,
Robert Görl,
The Victims,
Wighnomy Brothers & Robag Wruhme,
Beasts of Bourbon,
Eden Ahbez,
The Smoke,
Von Mondo,
Minnie Riperton,
Notorious Big And Bone Thugs,
Man Parrish,
the Fania All-Stars,
Das Ding,
Scan 7,
Tommy Roe,
The Human League,
Silicon Teens,
kango's stein massive,
Terry Callier,
The Birthday Party,
The Jesus and Mary Chain,
Warren Ellis,
The Divine Comedy,
CMW,
Jawbox,
Gil Scott-Heron & Brian Jackson,
Roy Ayers Ubiquity,
Godley & Creme,
Marcia Griffiths,
Fear,
Leonard Cohen,
The Blues Magoos,
De La Soul & Jungle Brothers,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.