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 Palau and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Portland 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 808 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 Derrick May to the electroclash 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 Lou Reed & Metallica. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Stockholm Monsters,
Brass Construction,
Slave,
Gabor Szabo,
Pussy Galore,
The Cramps,
Minnie Riperton,
Porter Ricks,
Q65,
Hoover,
Boz Scaggs,
Pole,
Sound Behaviour,
Agent Orange,
Black Sheep,
Echospace,
DNA,
Bizarre Inc.,
DJ Sneak,
Robert Görl,
Todd Terry,
De La Soul & Jungle Brothers,
Second Layer,
The Moleskins,
the Bar-Kays,
The Names,
Girls At Our Best!,
Ituana,
Lindisfarne,
Sly & The Family Stone,
Bluetip,
Bootsy Collins,
Ronnie Foster,
Aural Exciters,
David Bowie,
Ken Boothe,
The Pop Group,
Kerri Chandler,
Graham Central Station,
OOIOO,
Alton Ellis,
Big Daddy Kane,
Con Funk Shun,
Lou Reed & John Cale,
The Wake,
Godley & Creme,
Jimmy McGriff,
Camron Feat. Memphis Bleek And Beenie Seigel,
Livin' Joy,
Henry Cow,
Scott Walker,
The Mojo Men,
Kas Product,
Barrington Levy,
Metal Thangz,
Groovy Waters,
PIL,
The Dead C,
Nation of Ulysses,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.