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 Uganda and from New York.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
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 Judy Mowatt to the dance kids.
I played it at the Spitz.
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 Joey Negro. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Visage 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Tomorrow,
The Happenings,
Man Parrish,
Archie Shepp,
X-102,
Boz Scaggs,
Theoretical Girls,
AZ,
Spoonie Gee,
Crispian St. Peters,
Amon Düül,
Notorious BIG live in Amsterdam,
The Mojo Men,
The Mummies,
Lakeside,
Unwound,
The Raincoats,
Negative Approach,
R.M.O.,
Cabaret Voltaire,
Yusef Lateef,
Fluxion,
Jeff Lynne,
Radiohead,
Joy Division,
Neil Young & Crazy Horse,
The Shadows of Knight,
Tim Buckley,
Godley & Creme,
Wire,
Dual Sessions,
Monks,
Harmonia,
F. McDonald,
Neu!,
Shuggie Otis,
the Sonics,
Heavy D & The Boyz,
Ronan,
Shoche,
Tropical Tobacco,
Loose Ends,
LL Cool J,
Monolake,
Darondo,
Massinfluence,
Jesper Dahlbäck,
Joey Negro,
Schoolly D,
Bad Manners,
Quando Quango,
Altered Images,
These Immortal Souls,
Scion,
Zapp,
Aaron Thompson,
Sandy B,
Roy Ayers,
The Music Machine,
Section 25,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.