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 Russia and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Bologna and Manila.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 James White and The Blacks to the rap kids.
I played it at the Crocodile.
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 Selector Dub Narcotic. All the underground hits.
All UT tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Yaz 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?
the Slits,
Black Pus,
Jawbox,
Avey Tare,
Unwound,
Excepter,
Dawn Penn,
Be Bop Deluxe,
Cymande,
Jandek,
Newcleus,
The Real Kids,
Absolute Body Control,
The Doors,
Sun City Girls,
The Gladiators,
Amazonics,
Stereo Dub,
The Moleskins,
The Monochrome Set,
Boz Scaggs,
Angels of Light & Akron/Family,
Average White Band,
Chris Corsano,
Stetsasonic,
Fad Gadget,
Surgeon,
Liliput,
The Happenings,
Joyce Sims,
The Smoke,
Bootsy's Rubber Band,
Ronnie Foster,
James White and The Blacks,
K-Klass,
A Certain Ratio,
Wings,
The Alarm Clocks,
Crispy Ambulance,
Brass Construction,
The Mighty Diamonds,
Slave,
Gong,
Matthew Halsall,
The Busters,
Electric Prunes,
The Music Machine,
Sound Behaviour,
Red Lorry Yellow Lorry,
Robert Hood,
Letta Mbulu,
Talk Talk,
Bauhaus,
Au Pairs,
Pantytec,
Scion,
The Flesh Eaters,
Rotary Connection,
Todd Terry,
Rapeman,
Bobby Womack,
Lyres,
Arthur Verocai,
Kurtis Blow,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.