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 Lebanon and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Toronto 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 snare 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 Juan Atkins to the rock kids.
I played it at the Astoria.
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 Eddi Front. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal funk 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 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Sly & The Family Stone,
Todd Terry,
Deakin,
Godley & Creme,
Donald Byrd,
Tommy Roe,
Dark Day,
It's A Beautiful Day,
Rahsaan Roland Kirk,
The Invisible,
the Soft Cell,
Traffic Nightmare,
Amazonics,
In Retrospect,
Kool G Rap & DJ Polo,
Sticky Fingaz feat. Raekwon,
Section 25,
Warren Ellis,
Audionom,
B.T. Express,
Loose Ends,
Skaos,
David Axelrod,
John Coltrane,
Country Joe & The Fish,
Cal Tjader,
Lizzy Mercier Descloux,
Larry & the Blue Notes,
Cabaret Voltaire,
Monks,
Gang Green,
Boogie Down Productions,
Mantronix,
The Saints,
The Gun Club,
The Gladiators,
Negative Approach,
The Peanut Butter Conspiracy,
Lakeside,
The Royal Family And The Poor,
Sexual Harrassment,
Red Lorry Yellow Lorry,
Michelle Simonal,
The Moleskins,
Neu!,
Crooked Eye,
The Sisters of Mercy,
The Men They Couldn't Hang,
Pantaleimon,
The Cowsills,
The Dave Clark Five,
Andrew Hill,
Oblivians,
Saccharine Trust,
Magma,
Sonny Sharrock,
Chris & Cosey,
Moby Grape,
Swell Maps,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.