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 Nauru and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Halifax.
I'm losing my edge to the art-school Calgary 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 clarinet 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 Main Source to the crunk kids.
I played it at the 40 Watt.
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 ABBA. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
MDC,
Young Marble Giants,
DJ Style,
The Toasters,
Lyres,
Magma,
New York Dolls,
Erykah Badu,
Rakim,
Chris & Cosey,
Excepter,
Arab on Radar,
A Certain Ratio,
Bang on a Can All-Stars,
Rod Modell,
Ultravox,
It's A Beautiful Day,
Lucky Dragons,
CMW,
the Bar-Kays,
Warsaw,
Clear Light,
Hasil Adkins,
Delon & Dalcan,
Kings Of Tomorrow,
Robert Wyatt,
Connie Case,
Charles Mingus,
Pharaoh Sanders and the Fire Engines,
The Techniques,
Soulsonic Force,
Sarah Menescal,
Massinfluence,
The United States of America,
Crispian St. Peters,
Piero Umiliani,
Darondo,
Monks,
Minnie Riperton,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Shadows of Knight,
Sällskapet,
Accadde A,
Kurtis Blow,
Tropical Tobacco,
The Durutti Column,
Minor Threat,
FM Einheit,
Larry & the Blue Notes,
Fifty Foot Hose,
Little Man,
Grey Daturas,
Gang Gang Dance,
Iggy Pop,
Panda Bear,
Visage,
Barry Ungar,
B.T. Express,
Electric Light Orchestra,
Second Layer,
K-Klass,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.