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 Solomon Islands and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Barrington Levy to the rap 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 Rakim. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Bluetip,
June Days,
Tomorrow,
The Fugs,
Masters at Work,
Fat Boys,
Jesper Dahlback,
Donny Hathaway,
K-Klass,
Soulsonic Force,
Davy DMX,
Sam Rivers,
Andrew Ashong & Theo Parrish,
Jerry's Kids,
The Jesus and Mary Chain,
Robert Hood,
Jeff Lynne,
Chris & Cosey,
The Knickerbockers,
The American Breed,
Notorious BIG live in Amsterdam,
Alison Limerick,
B.T. Express,
The Velvet Underground,
Kerrie Biddell,
Peter and Kerry,
David Axelrod,
Lindisfarne,
T.S.O.L.,
Oblivians,
Magma,
Scion,
Girls At Our Best!,
Zero Boys,
Monks,
Vaughan Mason & Crew,
The Barracudas,
Scott Walker,
Nirvana,
Quadrant,
James Chance & The Contortions,
John Coltrane,
Kenny Larkin,
Crispian St. Peters,
Circle Jerks,
Rapeman,
Bill Wells,
the Association,
Public Image Ltd.,
Roxy Music,
Suburban Knight,
Lucky Dragons,
The Wake,
Larry & the Blue Notes,
Interpol,
The Peanut Butter Conspiracy,
Janne Schatter,
X-102,
Rites of Spring,
Jacques Brel,
Deakin, Deakin, Deakin, Deakin.
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.