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 Togo and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1979.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Delhi 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Art Ensemble Of Chicago to the grime kids.
I played it at the Crocodile.
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 Pantytec. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Lee Hazlewood 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
New Order,
Moss Icon,
The Blues Magoos,
Selector Dub Narcotic,
Steve Hackett,
Stetsasonic,
Cecil Taylor,
Cheater Slicks,
Arab on Radar,
The Cowsills,
The Velvet Underground,
James Chance & The Contortions,
Blancmange,
Glambeats Corp.,
10cc,
The Motions,
Deadbeat,
Blossom Toes,
48th St. Collective,
Kerrie Biddell,
Tom Boy,
Kenny Larkin,
Marmalade,
Adolescents,
Yusef Lateef,
Tropical Tobacco,
The Associates,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Mojo Men,
Oppenheimer Analysis,
Tres Demented,
David Axelrod,
Alison Limerick,
Bang On A Can,
The Gun Club,
Nirvana,
Robert Görl,
Gil Scott-Heron & Brian Jackson,
The Walker Brothers,
Eric B and Rakim,
Nas,
Thinking Fellers Union Local 282,
Sly & The Family Stone,
These Immortal Souls,
AZ,
R.M.O.,
CMW,
Anakelly,
Amon Düül II,
Soul II Soul,
Vaughan Mason & Crew,
Aloha Tigers,
Joe Smooth,
La Düsseldorf,
Maurizio,
Quadrant,
Junior Murvin,
Barrington Levy,
Teenage Jesus and the Jerks,
Cabaret Voltaire,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.