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 Ireland and from Salvador.
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 1971.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 The Divine Comedy to the rap kids.
I played it at the Hacienda.
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 Delon & Dalcan. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Loose Ends 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Soul Sonic Force,
48th St. Collective,
JFA,
Rakim,
Cameo,
A Certain Ratio,
Bronski Beat,
Bang on a Can All-Stars,
the Association,
Grey Daturas,
Sight & Sound,
T. Rex,
Accadde A,
Wings,
Piero Umiliani,
Rekid,
Kings Of Tomorrow,
Ralphi Rosario,
Sugar Minott,
Amon Düül,
The Beau Brummels,
Teenage Jesus and the Jerks,
Saccharine Trust,
Marmalade,
Janne Schatter,
Dawn Penn,
China Crisis,
The Divine Comedy,
the Fania All-Stars,
Crispian St. Peters,
The Mojo Men,
The Golliwogs,
Public Enemy,
Inner City,
Skaos,
D'Angelo,
Nirvana,
Super Lover Cee & Casanova Rud,
Jeff Mills,
Echospace,
Kool Moe Dee,
The Music Machine,
The Smoke,
The Neon Judgement,
Supertramp,
The Mighty Diamonds,
Youth Brigade,
Andrew Hill,
Excepter,
Robert Wyatt,
Dorothy Ashby,
Deakin,
Index,
Au Pairs,
Soul II Soul,
Traffic Nightmare,
Sound Behaviour,
T.S.O.L.,
Popol Vuh,
The Litter,
Country Joe & The Fish,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.