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 Italy and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 Wolf Eyes to the jazz 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 Major Organ And The Adding Machine. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Tomorrow,
Icehouse,
The Evens,
Jacques Brel,
The Young Rascals,
Popol Vuh,
The Knickerbockers,
Urselle,
Radiopuhelimet,
Thee Headcoats,
Donald Byrd,
CMW,
Quando Quango,
Ralphi Rosario,
Bauhaus,
Q and Not U,
Art Ensemble Of Chicago,
Michelle Simonal,
Soft Cell,
James Chance & The Contortions,
Alton Ellis,
JFA,
Barclay James Harvest,
New Order,
Ludus,
Funkadelic,
Soft Machine,
Black Bananas,
The Shadows of Knight,
The Blues Magoos,
Manfred Mann's Earth Band,
The Flesh Eaters,
The Gap Band,
Lightning Bolt,
Jesper Dahlbäck,
Fatback Band,
Siouxsie and the Banshees,
Masters at Work,
Little Man,
Zapp,
The Litter,
The Wake,
The New Christs,
The Monochrome Set,
Ice-T,
Fat Boys,
The Detroit Cobras,
Bang on a Can All-Stars,
DJ Style,
Ultravox,
Johnny Osbourne,
The Real Kids,
Lalo Schifrin,
The West Coast Pop Art Experimental Band,
Echospace,
a-ha,
Echo & the Bunnymen,
Cal Tjader,
Drive Like Jehu,
Letta Mbulu,
Graham Central Station,
Lou Reed & John Cale,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.