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 Croatia and from Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Calgary and Spokane.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe 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 Alison Limerick to the grime kids.
I played it at the 40 Watt.
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 Sällskapet. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Make Up,
Lakeside,
Fear,
Severed Heads,
Camron Feat. Memphis Bleek And Beenie Seigel,
Flash Fearless,
Lou Reed & Metallica,
Livin' Joy,
Lizzy Mercier Descloux,
Dawn Penn,
The Cosmic Jokers,
The Electric Prunes,
Bauhaus,
Jerry Gold Smith,
The Mighty Diamonds,
the Sonics,
Jeff Mills,
Cameo,
Faraquet,
The Moleskins,
Harry Pussy,
New Order,
Bootsy Collins,
Patti Smith,
Agitation Free,
Half Japanese,
UT,
Brick,
Bobbi Humphrey,
Porter Ricks,
DJ Style,
The Misunderstood,
Dr. Dre and Snoop Doggy Dog,
Rhythim Is Rhythim,
Cabaret Voltaire,
K-Klass,
cv313,
Lou Christie,
The Remains,
Bluetip,
Skarface,
Art Ensemble Of Chicago,
Rotary Connection,
Marshall Jefferson,
Eli Mardock,
Scion,
Toni Rubio,
Crooked Eye,
Fela Kuti,
Bill Wells,
Joey Negro,
the Fania All-Stars,
The Zeros,
Agent Orange,
Hoover,
Pantytec,
Buzzcocks,
8 Eyed Spy,
FM Einheit,
The Litter, The Litter, The Litter, The Litter.
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.