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 Afghanistan and from Winnipeg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord 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 Gregory Isaacs to the grunge 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 X-Ray Spex. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
CMW,
Guru Guru,
The Monks,
The Black Dice,
The Five Americans,
Pete Rock & C.L. Smooth,
Eli Mardock,
Idris Muhammad,
The Smoke,
Kas Product,
Gong,
E-Dancer,
The Cure,
Ajijia Myrayebe,
Metal Thangz,
UT,
Sixth Finger,
The Sisters of Mercy,
New York Dolls,
The Selecter,
The Victims,
The Leaves,
Ken Boothe,
Andrew Ashong & Theo Parrish,
Kerri Chandler,
Bobby Hutcherson,
Zapp,
Throbbing Gristle,
Popol Vuh,
Deakin,
Quando Quango,
Hoover,
The Evens,
Vaughan Mason & Crew,
Masters at Work,
David Axelrod,
Bill Wells,
Gil Scott Heron,
Gregory Isaacs,
Orchestral Manoeuvres in the Dark,
Flash Fearless,
Scrapy,
Talk Talk,
Red Lorry Yellow Lorry,
The Chocolate Watch Band,
Nation of Ulysses,
Pantaleimon,
The Doors,
Sex Pistols,
Icehouse,
Radio Birdman,
Hardrive,
Neil Young,
Neu!,
Parry Music,
Janne Schatter,
The Gladiators,
Ronnie Foster,
Siglo XX,
Pulsallama,
Fat Boys,
The Divine Comedy,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.