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 Milan.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Calgary and Edmonton.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 The Doobie Brothers to the disco kids.
I played it at Cafe Wha.
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 Section 25. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Deakin 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 sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
The Martian,
Ken Boothe,
DJ Style,
E-Dancer,
Rhythm & Sound,
Organ,
Joyce Sims,
10cc,
Yusef Lateef,
Main Source,
MDC,
Scott Walker,
Young Marble Giants,
A Certain Ratio,
Arcadia,
Clear Light,
Josef K,
Chris Corsano,
Fad Gadget,
The West Coast Pop Art Experimental Band,
Magma,
Bobby Hutcherson,
Scan 7,
Jawbox,
The Happenings,
Alphaville,
Idris Muhammad,
Quando Quango,
Symarip,
Cymande,
Dark Day,
Jacques Brel,
The Misunderstood,
Aloha Tigers,
Neil Young,
Johnny Clarke,
Rapeman,
Unwound,
Shuggie Otis,
Technova,
Los Fastidios,
Hasil Adkins,
Bobbi Humphrey,
Judy Mowatt,
The Shadows of Knight,
Youth Brigade,
Thinking Fellers Union Local 282,
Pierre Henry,
Max Romeo,
Jesper Dahlbäck,
Pharoah Sanders,
Basic Channel,
Echospace,
The Cure,
The Standells,
Saccharine Trust,
The Peanut Butter Conspiracy,
AZ,
The Gories,
Von Mondo,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.