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 Poland and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bologna and Manila.
I'm losing my edge to the art-school Manila 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 organ 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 Siouxsie and the Banshees to the crunk 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 Selecter. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
The Velvet Underground,
Radiopuhelimet,
Chris & Cosey,
The Star Department,
Brick,
Isaac Hayes,
Kayak,
Robert Görl,
The Blues Magoos,
Subhumans,
The Sonics,
Brand Nubian,
Peter and Kerry,
MDC,
Red Lorry Yellow Lorry,
Wally Richardson,
Masters at Work,
Black Moon,
Heaven 17,
Blake Baxter,
Lou Reed,
Gil Scott Heron,
Godley & Creme,
Sparks,
Slave,
Hardrive,
Angry Samoans,
Lindisfarne,
Major Organ And The Adding Machine,
X-101,
Ken Boothe,
Sun City Girls,
Pylon,
The Misunderstood,
Bootsy Collins,
cv313,
The Fortunes,
Pharoah Sanders,
Stetsasonic,
The Names,
Urselle,
Ash Ra Tempel,
Slick Rick,
Organ,
Pagans,
Aaron Thompson,
Icehouse,
Severed Heads,
Ludus,
Half Japanese,
U.S. Maple,
Avey Tare,
Minor Threat,
The Red Krayola,
Selector Dub Narcotic,
Ajijia Myrayebe,
The Moody Blues,
Interpol,
R.M.O.,
The Cowsills,
Wire,
Deadbeat,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.