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 Saudi Arabia and from Manila.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Tehran 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 Nile Rodgers 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 Sarah Menescal to the disco 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 Warsaw. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Big Daddy Kane,
Wally Richardson,
Jeff Lynne,
Ice-T,
Maurizio,
Massinfluence,
Bill Wells,
The Cosmic Jokers,
A Certain Ratio,
The Walker Brothers,
Louis and Bebe Barron,
Sam Rivers,
Can,
Johnny Clarke,
The Doors,
Outsiders,
Eve St. Jones,
New York Dolls,
The American Breed,
Archie Shepp,
The Fire Engines,
Howard Jones,
Lucky Dragons,
Manfred Mann's Earth Band,
Marcia Griffiths,
The Selecter,
The Names,
Metal Thangz,
Cymande,
The Angels of Light,
Nils Olav,
Rekid,
CMW,
The Human League,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultravox,
London Community Gospel Choir,
Sällskapet,
Minor Threat,
Nation of Ulysses,
Harry Pussy,
FM Einheit,
Drive Like Jehu,
Brick,
The Cowsills,
Anakelly,
The Blues Magoos,
Franke,
Moby Grape,
Barry Ungar,
Bang on a Can All-Stars,
Leonard Cohen,
Theoretical Girls,
Pulsallama,
Lakeside,
Animal Collective,
Notorious BIG live in Amsterdam,
Mission of Burma,
Godley & Creme,
Scrapy, Scrapy, Scrapy, Scrapy.
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.