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 South Sudan and from Sao Paulo.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Shanghai 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Brick to the electroclash 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 Rapeman. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Jesper Dahlback,
The Doors,
John Holt,
Visage,
De La Soul & Jungle Brothers,
Agitation Free,
The Star Department,
The Electric Prunes,
Theoretical Girls,
Connie Case,
The Names,
The Searchers,
Joensuu 1685,
Stockholm Monsters,
Warsaw,
Traffic Nightmare,
Kerrie Biddell,
Von Mondo,
Henry Cow,
Malaria!,
Country Teasers,
Desert Stars,
Nation of Ulysses,
The Five Americans,
MDC,
Hasil Adkins,
X-101,
Goldenarms,
Heaven 17,
Vaughan Mason & Crew,
Sparks,
Liaisons Dangereuses,
Big Daddy Kane,
Bobby Womack,
Dawn Penn,
Idris Muhammad,
The Gories,
Ornette Coleman,
Cecil Taylor,
Camron Feat. Memphis Bleek And Beenie Seigel,
Todd Rundgren,
Tom Boy,
Popol Vuh,
Gary Puckett & The Union Gap,
Young Marble Giants,
Fugazi,
Altered Images,
Liliput,
Moby Grape,
Nas,
The Remains,
Moebius,
Zapp,
Eric B and Rakim,
Hashim,
The Durutti Column,
Terry Callier,
Oneida,
Chris Corsano,
Gil Scott Heron,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.