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 Rwanda and from Woodstock.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Delhi 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Josef K to the disco kids.
I played it at the Astoria.
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 Rahsaan Roland Kirk. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal grime 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Andrew Ashong & Theo Parrish,
Half Japanese,
Barclay James Harvest,
Arcadia,
Ultra Naté,
Schoolly D,
Junior Murvin,
Skriet,
Boogie Down Productions,
Jesper Dahlbäck,
Roy Ayers Ubiquity,
Wire,
Procol Harum,
Roxette,
Tubeway Army,
Panda Bear,
Sex Pistols,
Chrome,
Technova,
Soft Machine,
Moby Grape,
Severed Heads,
Echospace,
London Community Gospel Choir,
Bizarre Inc.,
Lower 48,
Funkadelic,
Pharoah Sanders,
Supertramp,
Skarface,
Derrick Morgan,
Ituana,
Sun City Girls,
Loose Ends,
Duran Duran,
Altered Images,
The Associates,
Crime,
The Sisters of Mercy,
Rites of Spring,
The Toasters,
Jandek,
X-Ray Spex,
James Chance & The Contortions,
Slave,
the Soft Cell,
Sam Rivers,
Public Enemy,
Moss Icon,
Alison Limerick,
The Blues Magoos,
Mr. Review,
ABC,
Bang On A Can,
Shuggie Otis,
The Moleskins,
The Dirtbombs,
Marmalade,
The West Coast Pop Art Experimental Band,
The Trojans,
Das Ding,
Fugazi,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.