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 Tunisia and from Lagos.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Faust to the techno kids.
I played it at the Spitz.
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 New Age Steppers. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Public Image Ltd.,
8 Eyed Spy,
The Music Machine,
Slick Rick,
Gerry Rafferty,
Ornette Coleman,
EPMD,
Curtis Mayfield,
Eurythmics,
Dark Day,
Los Fastidios,
The Neon Judgement,
The Litter,
Gil Scott-Heron and Jamie xx,
Super Lover Cee & Casanova Rud,
Wally Richardson,
Delon & Dalcan,
The Names,
KRS-One,
Motorama,
Yazoo,
Angels of Light & Akron/Family,
Moby Grape,
Gabor Szabo,
Bang on a Can All-Stars,
Quantec,
Cabaret Voltaire,
Lightning Bolt,
Idris Muhammad,
Shuggie Otis,
Eli Mardock,
Grauzone,
E-Dancer,
Kevin Saunderson,
Kas Product,
Cecil Taylor,
Joensuu 1685,
Popol Vuh,
Cal Tjader,
Wolf Eyes,
Tubeway Army,
Procol Harum,
Sugar Minott,
Babytalk,
Ajijia Myrayebe,
Notorious Big And Bone Thugs,
Basic Channel,
Ken Boothe,
Ten City,
The Slackers,
Chris & Cosey,
Matthew Bourne,
The Modern Lovers,
Tommy Roe,
Visage,
Stetsasonic,
Fifty Foot Hose,
Bobby Byrd,
John Lydon,
Shoche, Shoche, Shoche, Shoche.
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.