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 Gabon and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Edmonton 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 harpsichord 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 Siglo XX to the electroclash kids.
I played it at the Hacienda.
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 Larry & the Blue Notes. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Althea and Donna 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Gabor Szabo,
Lou Reed & Metallica,
Kauko Röyhkä ja Narttu,
The Toasters,
The J.B.'s,
Cal Tjader,
Judy Mowatt,
The Techniques,
the Germs,
Lee Hazlewood,
London Community Gospel Choir,
MDC,
Blancmange,
Faraquet,
The Black Dice,
Röyhkä ja Rättö ja Lehtisalo,
Deadbeat,
Nik Kershaw,
Nation of Ulysses,
Bronski Beat,
Simply Red,
The Trojans,
Accadde A,
Groovy Waters,
Joey Negro,
Pylon,
The Fugs,
the Fania All-Stars,
Brothers Johnson,
Gang Green,
U.S. Maple,
Sandy B,
Albert Ayler,
Jacob Miller,
Chris Corsano,
Sun Ra,
Japan,
The West Coast Pop Art Experimental Band,
Marshall Jefferson,
Joe Smooth,
Letta Mbulu,
Scan 7,
John Cale,
Eric B and Rakim,
Andrew Ashong & Theo Parrish,
New Age Steppers,
Crime,
Kayak,
Vladislav Delay,
E-Dancer,
PIL,
Godley & Creme,
Sunsets and Hearts,
Fluxion,
Cluster,
Gong,
Lucky Dragons,
Soulsonic Force,
Stiv Bators,
The Chocolate Watch Band,
Model 500, Model 500, Model 500, Model 500.
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.