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 Syria and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer 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 Offenders to the funk kids.
I played it at the Roxy.
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 The Smiths. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
The Cowsills,
The Pretty Things,
Reagan Youth,
Kauko Röyhkä ja Narttu,
JFA,
The Moody Blues,
Boogie Down Productions,
Subhumans,
Simply Red,
Archie Shepp,
The Fall,
Khruangbin,
Massinfluence,
The Tremeloes,
Hardrive,
Rhythm & Sound,
Gang Starr,
Gil Scott-Heron and Jamie xx,
Rufus Thomas,
The Detroit Cobras,
Idris Muhammad,
Roxy Music,
The Fuzztones,
Interpol,
Bauhaus,
Ludus,
Y Pants,
Television Personalities,
The Gun Club,
Sarah Menescal,
Rhythim Is Rhythim,
DJ Sneak,
The Walker Brothers,
Section 25,
Main Source,
Infiniti,
Delta 5,
Gary Puckett & The Union Gap,
Bootsy Collins,
Technova,
Jawbox,
New Order,
Bobbi Humphrey,
Pet Shop Boys,
Alton Ellis,
Magazine,
The Pop Group,
Liaisons Dangereuses,
Sound Behaviour,
Derrick May,
Saccharine Trust,
Richard Hell and the Voidoids,
Unrelated Segments,
Sun Ra Arkestra,
David Axelrod,
Scratch Acid,
Angry Samoans,
Alice Coltrane,
L. Decosne,
Oppenheimer Analysis,
Q65,
Mars, Mars, Mars, Mars.
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.