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 Denmark and from Paris.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Taipei 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 arpeggiator 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 Subhumans to the punk kids.
I played it at CBGB's.
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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
The Fortunes,
Sad Lovers and Giants,
Alton Ellis,
Davy DMX,
Röyhkä ja Rättö ja Lehtisalo,
Morten Harket,
The Skatalites,
Boogie Down Productions,
Soft Machine,
Lalann,
The Durutti Column,
Popol Vuh,
the Bar-Kays,
Stereo Dub,
Duran Duran,
Organ,
Gil Scott-Heron and Jamie xx,
This Heat,
Intrusion,
The Jesus and Mary Chain,
Masters at Work,
R.M.O.,
H. Thieme,
Soulsonic Force,
Hot Snakes,
Wolf Eyes,
Guru Guru,
Sight & Sound,
The Mummies,
The Angels of Light,
Junior Murvin,
The Mojo Men,
The Five Americans,
Robert Hood,
The Dirtbombs,
Los Fastidios,
Lonnie Liston Smith,
Wire,
Harpers Bizarre,
Avey Tare's Slasher Flicks,
The Trojans,
Marvin Gaye,
John Holt,
Camouflage,
Lower 48,
Simply Red,
The American Breed,
Nick Fraelich,
Ludus,
Cymande,
Joey Negro,
Crispian St. Peters,
Peter and Kerry,
KRS-One,
The Real Kids,
The Sisters of Mercy,
In Retrospect,
Black Moon,
Siouxsie and the Banshees,
Interpol,
Second Layer,
The Leaves,
CMW, CMW, CMW, CMW.
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.