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 Argentina and from Hong Kong.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 Captain Beefheart 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 Los Fastidios to the grime kids.
I played it at the Astoria.
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 Grass Roots. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Hashim,
Negative Approach,
Black Sheep,
Flash Fearless,
Joyce Sims,
Crooked Eye,
Los Fastidios,
Simply Red,
Eddi Front,
James Chance & The Contortions,
Crispian St. Peters,
the Swans,
Echo & the Bunnymen,
John Holt,
New Age Steppers,
The Toasters,
FM Einheit,
Delon & Dalcan,
Bobby Sherman,
Gastr Del Sol,
Justin Hinds & The Dominoes,
8 Eyed Spy,
Pere Ubu,
Skriet,
The Fortunes,
Minutemen,
Main Source,
ABBA,
The Mummies,
Roy Ayers Ubiquity,
Darondo,
B.T. Express,
The Gun Club,
Stereo Dub,
Vladislav Delay,
Joe Finger,
the Normal,
48th St. Collective,
Rites of Spring,
The United States of America,
Marcia Griffiths,
John Lydon,
Aswad,
Boredoms,
Eric Copeland,
Masters at Work,
The Residents,
Howard Jones,
Derrick Morgan,
Erykah Badu,
Dennis Brown,
Magazine,
Quando Quango,
Gary Puckett & The Union Gap,
Organ,
Eli Mardock,
Mark Hollis,
Essential Logic,
Barbara Tucker,
The Associates,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.