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 Lesotho and from Salvador.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lille and Calgary.
I'm losing my edge to the art-school Toronto 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba 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 UT to the disco kids.
I played it at the Astoria.
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 Pylon. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every K-Klass 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 '70s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
A Flock of Seagulls,
Erasure,
Sad Lovers and Giants,
Black Bananas,
Warsaw,
Andrew Ashong & Theo Parrish,
The Doors,
Cluster,
Livin' Joy,
Kerri Chandler,
Icehouse,
The Moleskins,
Roy Ayers,
The Black Dice,
Alison Limerick,
Crooked Eye,
Spoonie Gee,
Vainqueur,
Public Image Ltd.,
Teenage Jesus and the Jerks,
The American Breed,
Porter Ricks,
Essential Logic,
Procol Harum,
Al Stewart,
Joe Finger,
Robert Hood,
Gil Scott-Heron and Jamie xx,
Pete Rock & C.L. Smooth,
Darondo,
The Beau Brummels,
AZ,
PIL,
Intrusion,
June of 44,
Art Ensemble Of Chicago,
the Human League,
Joyce Sims,
Todd Terry,
Sonny Sharrock,
Underground Resistance,
Average White Band,
Visionaries,LMNO, T- Love & Iriscience,
Joey Negro,
Lalann,
Nik Kershaw,
Lakeside,
Audionom,
Eric Copeland,
Minutemen,
The Vogues,
The Remains,
The Detroit Cobras,
Alton Ellis,
the Association,
Index,
Reagan Youth,
Animal Collective,
Sarah Menescal,
Visage,
Avey Tare,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.