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 Denmark and from Bremen.
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 1975.
I'm losing my edge.
To all the kids in Lagos and Winnipeg.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Pantytec to the funk kids.
I played it at CBGB's.
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 Aloha Tigers. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Ice-T,
The United States of America,
Mary Jane Girls,
Los Fastidios,
Pantytec,
Sixth Finger,
Electric Light Orchestra,
Teenage Jesus and the Jerks,
Fugazi,
Stockholm Monsters,
Gary Puckett & The Union Gap,
Depeche Mode,
Johnny Osbourne,
Derrick Morgan,
Barclay James Harvest,
Smog,
Kas Product,
Todd Terry,
Lindisfarne,
Subhumans,
Kurtis Blow,
L. Decosne,
Barry Ungar,
Jeru the Damaja,
Isaac Hayes,
Pharaoh Sanders and the Fire Engines,
DJ Sneak,
Warsaw,
Aaron Thompson,
Terror Squad Feat. Camron,
Andrew Ashong & Theo Parrish,
Susan Cadogan,
These Immortal Souls,
Cabaret Voltaire,
The Young Rascals,
Frankie Knuckles,
Porter Ricks,
cv313,
Franke,
Rotary Connection,
Idris Muhammad,
Faraquet,
Yellowson,
Jawbox,
Barbara Tucker,
Bill Wells,
Robert Hood,
Radiohead,
F. McDonald,
Pharoah Sanders,
Khruangbin,
Ultravox,
Interpol,
Echo & the Bunnymen,
The Fire Engines,
Thinking Fellers Union Local 282,
The Remains,
Jesper Dahlbäck,
Deakin,
Arab on Radar,
Icehouse, Icehouse, Icehouse, Icehouse.
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.