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 Haiti and from Seoul.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Accra.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 The Techniques to the grunge kids.
I played it at the Crocodile.
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 Monks. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Fear,
Gary Puckett & The Union Gap,
Girls At Our Best!,
Jesper Dahlback,
Kings Of Tomorrow,
Flash Fearless,
The Barracudas,
D'Angelo,
Deadbeat,
Röyhkä ja Rättö ja Lehtisalo,
The Zeros,
Eurythmics,
The Durutti Column,
Mantronix,
Cluster,
Stetsasonic,
It's A Beautiful Day,
Amazonics,
The Fugs,
Roy Ayers Ubiquity,
Amon Düül II,
Todd Terry,
Skaos,
Wolf Eyes,
Morten Harket,
The Real Kids,
Bobby Womack,
Soft Cell,
Cecil Taylor,
Bootsy's Rubber Band,
Letta Mbulu,
Roxette,
Soft Machine,
Intrusion,
The Moleskins,
Unrelated Segments,
Throbbing Gristle,
The West Coast Pop Art Experimental Band,
Surgeon,
Arab on Radar,
Gil Scott-Heron and Jamie xx,
Vainqueur,
MC5,
Unwound,
Ituana,
The Fuzztones,
Jacques Brel,
Negative Approach,
Ronan,
Man Eating Sloth,
These Immortal Souls,
Easy Going,
Marcia Griffiths,
The Count Five,
Patti Smith,
The Dave Clark Five,
Magazine,
48th St. Collective,
In Retrospect,
Agent Orange,
Rapeman, Rapeman, Rapeman, Rapeman.
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.