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 Moldova and from Jakarta.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Accra and Woodstock.
I'm losing my edge to the art-school Woodstock 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 Prince Buster to the grime 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 Morten Harket. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Stetsasonic,
Roy Ayers,
Neu!,
The Peanut Butter Conspiracy,
the Fania All-Stars,
Cabaret Voltaire,
Inner City,
Simply Red,
Japan,
Marcia Griffiths,
Eli Mardock,
Shoche,
The Cosmic Jokers,
John Lydon,
Model 500,
The Zeros,
U.S. Maple,
Nik Kershaw,
Hoover,
Nick Cave & The Bad Seeds,
Rakim,
Ultramagnetic MC's,
Moby Grape,
Depeche Mode,
Lafayette Afro Rock Band,
Röyhkä ja Rättö ja Lehtisalo,
Animal Collective,
Prince Buster,
Kerri Chandler,
Hot Snakes,
Sun Ra Arkestra,
The Motions,
Gong,
Rekid,
X-102,
H. Thieme,
Au Pairs,
Wire,
MC5,
Joyce Sims,
the Human League,
Erasure,
The Standells,
Eyeless In Gaza,
The Velvet Underground,
Oneida,
Lou Reed & John Cale,
Susan Cadogan,
Throbbing Gristle,
Eden Ahbez,
Minnie Riperton,
Bronski Beat,
Zero Boys,
Steve Hackett,
The Shadows of Knight,
The Alarm Clocks,
48th St. Collective,
K-Klass,
Nico,
The Men They Couldn't Hang,
The Stooges,
Roxette, Roxette, Roxette, Roxette.
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.