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 St Lucia and from Manchester.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Flamin' Groovies to the techno kids.
I played it at Trash.
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 Glambeats Corp.. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
the Soft Cell,
Avey Tare & Kría Brekkan,
The Vogues,
Boz Scaggs,
A Certain Ratio,
Whodini,
Gil Scott-Heron and Jamie xx,
Curtis Mayfield,
Terrestrial Tones,
Bad Manners,
The Wake,
FM Einheit,
Country Joe & The Fish,
Lizzy Mercier Descloux,
Marc Romboy vs. Booka Shade,
Babytalk,
Little Man,
Sugar Minott,
Groovy Waters,
Magma,
Liaisons Dangereuses,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
One Last Wish,
Ituana,
Roxy Music,
The Move,
Bill Near,
The Doobie Brothers,
The Sisters of Mercy,
The Five Americans,
The Buckinghams,
Swell Maps,
Alton Ellis,
Gang Green,
Eli Mardock,
Man Eating Sloth,
Dark Day,
F. McDonald,
Neil Young,
Sonny Sharrock,
Unwound,
Minny Pops,
Vladislav Delay,
the Fania All-Stars,
Oneida,
Hardrive,
Man Parrish,
The Litter,
Tropical Tobacco,
Public Enemy,
Scan 7,
Gerry Rafferty,
Sun City Girls,
Hoover,
Eyeless In Gaza,
Cluster,
Glambeats Corp.,
Fifty Foot Hose,
The Monks, The Monks, The Monks, The Monks.
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.