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 Luxembourg and from Philadelphia.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Johannesburg 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 clarinet 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 Morten Harket to the rap 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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Hoover,
Agent Orange,
Kenny Larkin,
Brand Nubian,
Motorama,
Cabaret Voltaire,
Nation of Ulysses,
Jawbox,
R.M.O.,
Thinking Fellers Union Local 282,
Jesper Dahlback,
Notorious BIG live in Amsterdam,
the Germs,
Kerrie Biddell,
Rapeman,
Jacques Brel,
The Royal Family And The Poor,
Stiv Bators,
Henry Cow,
T.S.O.L.,
Marshall Jefferson,
Tropical Tobacco,
Metal Thangz,
Avey Tare's Slasher Flicks,
Matthew Halsall,
The Litter,
Heaven 17,
Trumans Water,
New Age Steppers,
Echospace,
The Grass Roots,
The Durutti Column,
James White and The Blacks,
Kas Product,
Ronan,
John Cale,
MDC,
Mad Mike,
Saccharine Trust,
Byron Stingily,
Q and Not U,
The Gun Club,
Siouxsie and the Banshees,
KRS-One,
The West Coast Pop Art Experimental Band,
Ken Boothe,
The Real Kids,
Funkadelic,
The Kinks,
The Saints,
Flash Fearless,
Röyhkä ja Rättö ja Lehtisalo,
John Coltrane,
The Busters,
Drexciya,
Vainqueur,
Radiopuhelimet,
Hardrive,
The Red Krayola,
Fluxion,
Ultravox,
Main Source,
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.