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 Israel and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in New York and Houston.
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 guitar 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 Archie Shepp to the crunk kids.
I played it at the Troubador.
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 Second Layer. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
the Normal,
Half Japanese,
Grey Daturas,
48th St. Collective,
Fat Boys,
Das Ding,
Rufus Thomas,
DNA,
Jerry Gold Smith,
Pole,
The Cosmic Jokers,
Patti Smith,
Warsaw,
The Buckinghams,
The Skatalites,
Rosa Yemen,
The Martian,
Fluxion,
Underground Resistance,
Terrestrial Tones,
The Seeds,
Letta Mbulu,
Ash Ra Tempel,
Thompson Twins,
Glenn Branca,
Dead Boys,
Big Daddy Kane,
Brothers Johnson,
Tom Boy,
Thee Headcoats,
Justin Hinds & The Dominoes,
Rakim,
Groovy Waters,
Peter & Gordon,
Young Marble Giants,
Bang On A Can,
Arab on Radar,
Lafayette Afro Rock Band,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Alton Ellis,
Soul Sonic Force,
Quando Quango,
The Jesus and Mary Chain,
The Slackers,
Traffic Nightmare,
Mo-Dettes,
A Certain Ratio,
Bluetip,
Bob Dylan,
The Misunderstood,
Excepter,
Lucky Dragons,
This Heat,
The Pretty Things,
Lou Reed,
The Mummies,
Camouflage,
Main Source,
The Music Machine,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.