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 Malta and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Von Mondo to the grunge 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 Bootsy Collins. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '70s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Das Ding,
Aswad,
Pylon,
Oppenheimer Analysis,
Young Marble Giants,
Stetsasonic,
Smog,
In Retrospect,
Crime,
The Offenders,
Eric B and Rakim,
Gang of Four,
the Normal,
Jeff Mills,
Bronski Beat,
La Düsseldorf,
Funky Four + One,
Motorama,
Altered Images,
Easy Going,
Livin' Joy,
The Pretty Things,
Scott Walker + Sunn O))),
Joe Smooth,
Deadbeat,
Laurel Aitken,
Steve Hackett,
Monks,
Radiopuhelimet,
Rhythm & Sound,
Kevin Saunderson,
The Cowsills,
Gil Scott-Heron & Brian Jackson,
The Slackers,
Yaz,
Absolute Body Control,
The Toasters,
Marmalade,
Mr. Review,
Glenn Branca,
Boogie Down Productions,
Cameo,
Fela Kuti,
the Germs,
Pierre Henry,
Johnny Clarke,
Rosa Yemen,
Erasure,
the Bar-Kays,
The Searchers,
Ponytail,
Barry Ungar,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gang Green,
Eve St. Jones,
Alison Limerick,
Leonard Cohen,
Gang Starr,
The Alarm Clocks,
Delta 5,
Supertramp,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.