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 Libya and from Winnipeg.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 sitar 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 Pharaoh Sanders and the Fire Engines to the dance 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 Terrestrial Tones. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Technova,
The Index,
Frankie Knuckles,
Brothers Johnson,
Neu!,
Funky Four + One,
London Community Gospel Choir,
Pharaoh Sanders and the Fire Engines,
Ten City,
The Leaves,
David Axelrod,
Freddie Wadling,
The Blues Magoos,
Big Daddy Kane,
Ituana,
Rapeman,
Kerrie Biddell,
The Saints,
Marshall Jefferson,
Jimmy McGriff,
Lalo Schifrin,
Mary Jane Girls,
Moss Icon,
Rowland S Howard / Lydia Lunch,
Siouxsie and the Banshees,
The Gap Band,
Dorothy Ashby,
The Moody Blues,
New Age Steppers,
Andrew Ashong & Theo Parrish,
The United States of America,
Lucky Dragons,
Metal Thangz,
Reagan Youth,
Oneida,
Ultravox,
Sam Rivers,
Infiniti,
Jandek,
Jerry Gold Smith,
Deutsch Amerikanische Freundschaft,
Piero Umiliani,
Eurythmics,
Ultra Naté,
Roxy Music,
Hashim,
Derrick Morgan,
The Fall,
The Shadows of Knight,
The Music Machine,
Anthony Braxton,
Schoolly D,
Strawberry Alarm Clock,
Massinfluence,
Kas Product,
Gil Scott-Heron and Jamie xx,
Angels of Light & Akron/Family,
the Slits,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.