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 Kyrgyzstan and from Jakarta.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 clarinet 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 Urselle to the funk kids.
I played it at Trash.
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 Saccharine Trust. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Technova 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 '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Ultramagnetic MC's,
Gil Scott-Heron & Brian Jackson,
Arcadia,
Sound Behaviour,
The Move,
The Beau Brummels,
Little Man,
Crooked Eye,
Lower 48,
The Dead C,
Severed Heads,
The Selecter,
Rakim,
Gary Puckett & The Union Gap,
Anakelly,
Wasted Youth,
Chrome,
Essential Logic,
New Age Steppers,
The Moleskins,
Alison Limerick,
Delta 5,
B.T. Express,
Monolake,
Spoonie Gee,
Quantec,
De La Soul & Jungle Brothers,
Nils Olav,
MC5,
Banda Bassotti,
Vladislav Delay,
Gang Starr,
Alice Coltrane,
Fear,
The Doors,
Kauko Röyhkä ja Narttu,
Bill Near,
James Chance & The Contortions,
K-Klass,
Minor Threat,
Curtis Mayfield,
The Mummies,
Eric Copeland,
The Skatalites,
Swell Maps,
Von Mondo,
Royal Trux,
The Walker Brothers,
Peter and Kerry,
The Cowsills,
Scratch Acid,
Slave,
Pharoah Sanders,
Cheater Slicks,
T. Rex,
Pussy Galore,
Malaria!,
Graham Central Station,
Black Pus,
Flamin' Groovies,
Moebius,
Bluetip,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.