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 New Zealand 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 1964 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Copenhagen.
I'm losing my edge to the art-school Accra 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Basic Channel to the disco kids.
I played it at Cafe Wha.
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 Make Up. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Tres Demented 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Negative Approach,
Pere Ubu,
Ronnie Foster,
Agent Orange,
Procol Harum,
Eyeless In Gaza,
Man Parrish,
The Standells,
Bobby Byrd,
Whodini,
China Crisis,
Drexciya,
Funky Four + One,
Cecil Taylor,
Red Lorry Yellow Lorry,
Lou Reed & John Cale,
Black Moon,
Man Eating Sloth,
Minnie Riperton,
It's A Beautiful Day,
Prince Buster,
Dual Sessions,
Ten City,
Gang Gang Dance,
The Young Rascals,
Niagra,
Skriet,
Röyhkä ja Rättö ja Lehtisalo,
Spandau Ballet,
The Music Machine,
Radiopuhelimet,
Tears for Fears,
The Angels of Light,
Anakelly,
The Index,
Chrome,
Parry Music,
The Names,
The Sisters of Mercy,
Popol Vuh,
Goldenarms,
Terrestrial Tones,
The Residents,
Howard Jones,
Joensuu 1685,
Bronski Beat,
The Gories,
Isaac Hayes,
Leonard Cohen,
Lonnie Liston Smith,
Fugazi,
Joe Smooth,
Sexual Harrassment,
Lou Christie,
Mantronix,
Robert Görl,
Cymande,
Juan Atkins,
Faraquet,
The Count Five,
Nas,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.