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 Denmark and from Bremen.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 organ sounds with much patience.
I was there when Robert Palmer 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 Harpers Bizarre to the crunk 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 Graham Central Station. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Soft Machine 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Black Flag,
Althea and Donna,
Delta 5,
Orchestral Manoeuvres in the Dark,
Pete Rock & C.L. Smooth,
Danielle Patucci,
Echo & the Bunnymen,
Procol Harum,
Rhythm & Sound,
Sight & Sound,
Franke,
Clear Light,
Mantronix,
Suicide,
Pantytec,
Marshall Jefferson,
The Star Department,
One Last Wish,
Boogie Down Productions,
Nico,
Scott Walker,
D'Angelo,
the Bar-Kays,
The Vogues,
The Sonics,
Shuggie Otis,
Oppenheimer Analysis,
Monolake,
Tom Boy,
Rhythim Is Rhythim,
H. Thieme,
Wire,
Piero Umiliani,
The Angels of Light,
Bobby Hutcherson,
Michelle Simonal,
LL Cool J,
Sexual Harrassment,
Inner City,
Thompson Twins,
Mad Mike,
Gil Scott-Heron and Jamie xx,
Louis and Bebe Barron,
Audionom,
Excepter,
Harpers Bizarre,
MC5,
48th St. Collective,
Trumans Water,
Barclay James Harvest,
Livin' Joy,
Babytalk,
Gian Franco Pienzio,
The Fire Engines,
Theoretical Girls,
Little Man,
Dennis Brown,
The Grass Roots,
Glambeats Corp.,
Jerry's Kids,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.