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 Monaco and from Johannesburg.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Portland 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 The Cosmic Jokers to the disco 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 The Shadows of Knight. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Kerrie Biddell 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Public Image Ltd.,
Curtis Mayfield,
London Community Gospel Choir,
F. McDonald,
Joyce Sims,
Wings,
the Association,
Ludus,
Pantaleimon,
Albert Ayler,
Gichy Dan,
The Mojo Men,
Idris Muhammad,
Flash Fearless,
The Sisters of Mercy,
Depeche Mode,
Lalo Schifrin,
The Associates,
Country Joe & The Fish,
the Fania All-Stars,
Minny Pops,
The Saints,
Joe Smooth,
Tomorrow,
The Doobie Brothers,
Michelle Simonal,
Sight & Sound,
Brothers Johnson,
Metal Thangz,
AZ,
Orchestral Manoeuvres in the Dark,
Tears for Fears,
Blake Baxter,
Mantronix,
Fela Kuti,
Rekid,
The Pretty Things,
Lebanon Hanover,
The Mummies,
Unwound,
Joy Division,
The Residents,
Steve Hackett,
Sexual Harrassment,
Livin' Joy,
Organ,
KRS-One,
Boogie Down Productions,
the Germs,
Marc Romboy vs. Booka Shade,
Quando Quango,
Pantytec,
Smog,
The Zeros,
Fugazi,
Matthew Bourne,
Rhythm & Sound,
Procol Harum,
Infiniti,
Ponytail,
Amon Düül,
The Wake, The Wake, The Wake, The Wake.
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.