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 Switzerland and from Spokane.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Frankie Knuckles to the funk kids.
I played it at the Spitz.
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 China Crisis. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Grey Daturas,
Monolake,
Peter and Kerry,
Loose Ends,
The Young Rascals,
Fat Boys,
Average White Band,
Marc Romboy vs. Booka Shade,
The Techniques,
The Fall,
Lalo Schifrin,
Symarip,
Pete Rock & C.L. Smooth,
10cc,
Neu!,
Joyce Sims,
Vladislav Delay,
Ronnie Foster,
Aaron Thompson,
Nirvana,
Todd Terry,
Crash Course in Science,
Bauhaus,
Jeff Mills,
DJ Style,
Selector Dub Narcotic,
Rhythm & Sound,
Eli Mardock,
The Men They Couldn't Hang,
The Neon Judgement,
Deutsch Amerikanische Freundschaft,
the Association,
John Coltrane,
Peter Gordon & Love of Life Orchestra,
Vaughan Mason & Crew,
The Detroit Cobras,
Amon Düül II,
Lonnie Liston Smith,
Scott Walker,
Justin Hinds & The Dominoes,
Thinking Fellers Union Local 282,
Aloha Tigers,
The Victims,
Deadbeat,
Fela Kuti,
Dorothy Ashby,
Ajijia Myrayebe,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Boredoms,
Althea and Donna,
Art Ensemble Of Chicago,
A Flock of Seagulls,
Rotary Connection,
U.S. Maple,
Davy DMX,
The J.B.'s,
Glambeats Corp.,
X-Ray Spex,
H. Thieme,
Sixth Finger,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.