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 Trinidad & Tobago and from Hong Kong.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Bologna 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 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 Gang Gang Dance to the rock 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 H. Thieme. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Tubeway Army 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Amon Düül II,
Patti Smith,
Half Japanese,
Ken Boothe,
The Fall,
Desert Stars,
Boogie Down Productions,
cv313,
Royal Trux,
T.S.O.L.,
Steve Hackett,
Cecil Taylor,
The West Coast Pop Art Experimental Band,
Liaisons Dangereuses,
Lalann,
the Association,
FM Einheit,
Skarface,
Quantec,
Public Image Ltd.,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
The Dirtbombs,
David Axelrod,
Henry Cow,
Skaos,
Jawbox,
Barry Ungar,
Mr. Review,
James White and The Blacks,
The Standells,
John Coltrane,
Kango’s Stein Massive,
Ossler,
Lou Reed,
Nas,
Sly & The Family Stone,
New Order,
The United States of America,
The Grass Roots,
Jacob Miller,
Mars,
Kevin Saunderson,
Fela Kuti,
Hasil Adkins,
The Move,
Nick Fraelich,
Scientists,
Eve St. Jones,
London Community Gospel Choir,
Joe Smooth,
OOIOO,
Quando Quango,
Technova,
The Fuzztones,
Marshall Jefferson,
Terror Squad Feat. Camron,
The Pretty Things,
KRS-One,
Fluxion,
Colin Newman,
Can, Can, Can, Can.
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.