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 Singapore and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Scrapy to the electroclash kids.
I played it at the Troubador.
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 The Real Kids. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Barrington Levy 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Crash Course in Science,
Liaisons Dangereuses,
The Victims,
CMW,
Red Lorry Yellow Lorry,
Skaos,
Ponytail,
The Barracudas,
The Techniques,
Man Eating Sloth,
Nick Cave & The Bad Seeds,
The Blues Magoos,
Television,
Lungfish,
AZ,
Joe Finger,
Hardrive,
Magazine,
Tears for Fears,
Sunsets and Hearts,
The Doobie Brothers,
Rod Modell,
Roxy Music,
The Golliwogs,
Hoover,
Moebius,
Iggy Pop,
Lyres,
Hot Snakes,
Fad Gadget,
X-102,
Scientists,
Patti Smith,
Sandy B,
The Walker Brothers,
Hashim,
48th St. Collective,
the Germs,
Main Source,
Gil Scott Heron,
Half Japanese,
The Birthday Party,
Gian Franco Pienzio,
Reuben Wilson,
X-101,
Soft Cell,
The Cramps,
Camron Feat. Jay Z And Juelz,
Scan 7,
Johnny Clarke,
Outsiders,
Silicon Teens,
Suicide,
Bobby Byrd,
Black Sheep,
Kings Of Tomorrow,
David Bowie,
Nation of Ulysses,
Radio Birdman,
Sly & The Family Stone,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.