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 Kyrgyzstan and from Seoul.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school Lille 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 The Pretty Things to the disco 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 Curtis Mayfield. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
New Order,
Cecil Taylor,
The Searchers,
Oblivians,
Mr. Review,
Funkadelic,
Lebanon Hanover,
Surgeon,
Bill Near,
Flash Fearless,
Smog,
Bootsy's Rubber Band,
Faraquet,
Sun Ra Arkestra,
The Flesh Eaters,
Bobby Sherman,
The Velvet Underground,
Black Moon,
Sparks,
Duran Duran,
Kango’s Stein Massive,
Pantytec,
The Gap Band,
Amon Düül II,
Danielle Patucci,
Grey Daturas,
Zero Boys,
Sex Pistols,
Yaz,
Alison Limerick,
Sexual Harrassment,
Wings,
Gregory Isaacs,
Lizzy Mercier Descloux,
Gong,
Kerrie Biddell,
Pharaoh Sanders and the Fire Engines,
Laurel Aitken,
Crispian St. Peters,
Tim Buckley,
Lightning Bolt,
Selector Dub Narcotic,
Larry & the Blue Notes,
The New Christs,
The Monks,
Avey Tare,
Public Image Ltd.,
Joey Negro,
Lou Reed,
Todd Rundgren,
Sällskapet,
Tropical Tobacco,
KRS-One,
Outsiders,
Arcadia,
Infiniti,
Loose Ends,
Country Joe & The Fish,
Sarah Menescal,
Arthur Verocai,
Funky Four + One,
Icehouse,
World's Most, World's Most, World's Most, World's Most.
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.