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 Chad and from Tokyo.
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 1978.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Manila 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 Sandy B to the grime 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 The Dirtbombs. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Grey Daturas 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Michelle Simonal,
The Last Poets,
Eve St. Jones,
The Cowsills,
The Pop Group,
Swell Maps,
Mantronix,
David McCallum,
Section 25,
Wings,
Stiv Bators,
Saccharine Trust,
Bad Manners,
Q and Not U,
Fela Kuti,
Mo-Dettes,
Brick,
Crash Course in Science,
Dead Boys,
Freddie Wadling,
Gang of Four,
Lalann,
Sixth Finger,
Roxette,
The Dead C,
the Human League,
The Cure,
Ultramagnetic MC's,
Pet Shop Boys,
Jerry's Kids,
The Toasters,
Sexual Harrassment,
Moebius,
Aural Exciters,
Anthony Braxton,
Moby Grape,
Parry Music,
Half Japanese,
Oppenheimer Analysis,
Aaron Thompson,
Bronski Beat,
Hardrive,
Surgeon,
Fort Wilson Riot,
Warren Ellis,
Rakim,
PIL,
Public Image Ltd.,
Carl Craig,
Quadrant,
Cecil Taylor,
Radiopuhelimet,
The Fugs,
Amazonics,
Second Layer,
Model 500,
Kings Of Tomorrow,
The Kinks,
8 Eyed Spy,
Subhumans, Subhumans, Subhumans, Subhumans.
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.