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 Zambia and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1963 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Spokane.
I'm losing my edge to the art-school Toronto 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 Michael McDonald 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 Jesper Dahlback to the punk kids.
I played it at the 40 Watt.
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 Minny Pops. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Blancmange,
Pylon,
Minor Threat,
James White and The Blacks,
X-Ray Spex,
Bronski Beat,
Graham Central Station,
The Invisible,
Delta 5,
Panda Bear,
Skaos,
Suicide,
Khruangbin,
Monolake,
Jimmy McGriff,
The Smiths,
Skarface,
Mark Hollis,
Hot Snakes,
Oneida,
MDC,
Intrusion,
The Vogues,
Lindisfarne,
Nirvana,
Thee Headcoats,
Dual Sessions,
Tom Boy,
Deakin,
Robert Wyatt,
Soft Machine,
Wally Richardson,
Neil Young & Crazy Horse,
Essential Logic,
Rites of Spring,
UT,
Pantytec,
The Stooges,
The Names,
Kerri Chandler,
Be Bop Deluxe,
John Lydon,
Kango’s Stein Massive,
Andrew Hill,
Bobby Byrd,
Terry Callier,
the Soft Cell,
Tropical Tobacco,
The Techniques,
Visionaries,LMNO, T- Love & Iriscience,
Lower 48,
X-101,
Blake Baxter,
Deepchord,
Franke,
The Fall,
Bluetip,
John Coltrane,
Traffic Nightmare,
KRS-One, KRS-One, KRS-One, KRS-One.
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.