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 Uganda and from Manila.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
I'm losing my edge to the art-school Stockholm 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 marimba 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 CMW to the rap kids.
I played it at the Roxy.
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 Public Image Ltd.. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal electroclash 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 a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Al Stewart,
Little Man,
Supertramp,
UT,
the Human League,
Thinking Fellers Union Local 282,
Nils Olav,
New York Dolls,
Ponytail,
The Star Department,
Unrelated Segments,
The Invisible,
Loose Ends,
X-Ray Spex,
Spandau Ballet,
Girls At Our Best!,
Fugazi,
E-Dancer,
Man Eating Sloth,
Sun Ra Arkestra,
The Busters,
La Düsseldorf,
Dave Gahan,
Reuben Wilson,
The Music Machine,
The Smoke,
Don Cherry,
Godley & Creme,
Joe Finger,
AZ,
Richard Hell and the Voidoids,
Talk Talk,
The Tremeloes,
Blossom Toes,
Monks,
The Royal Family And The Poor,
Kevin Saunderson,
Albert Ayler,
Gary Puckett & The Union Gap,
Gong,
Sight & Sound,
Be Bop Deluxe,
The Victims,
The Chocolate Watch Band,
Rahsaan Roland Kirk,
Can,
Eric Copeland,
Gil Scott Heron,
Rakim,
Main Source,
The Selecter,
Maurizio,
The Divine Comedy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Offenders,
Derrick May,
the Bar-Kays,
Lizzy Mercier Descloux,
Q and Not U,
Robert Hood,
Davy DMX,
Bluetip,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.