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 Marshall Islands and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Halifax 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 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 Jacques Brel to the punk 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 Eric Copeland. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Grandmaster Flash and the Furious Five,
Judy Mowatt,
The Fire Engines,
Bobby Hutcherson,
Dawn Penn,
Schoolly D,
A Flock of Seagulls,
The Standells,
The Doobie Brothers,
Sad Lovers and Giants,
Index,
UT,
Eli Mardock,
Pylon,
World's Most,
Interpol,
The American Breed,
The Evens,
Gil Scott Heron,
Moebius,
Wighnomy Brothers & Robag Wruhme,
DNA,
T. Rex,
Masters at Work,
Sällskapet,
These Immortal Souls,
Boz Scaggs,
June of 44,
Bronski Beat,
Scrapy,
The Knickerbockers,
Juan Atkins,
Terrestrial Tones,
Be Bop Deluxe,
Rosa Yemen,
Tears for Fears,
The Vogues,
Mo-Dettes,
Bill Near,
Yusef Lateef,
The Dirtbombs,
Major Organ And The Adding Machine,
Isaac Hayes,
Spandau Ballet,
The Sonics,
Kevin Saunderson,
Wings,
Bang On A Can,
Gang Starr,
Pharoah Sanders,
Marine Girls,
Quadrant,
Andrew Hill,
Audionom,
The Toasters,
The Slackers,
Funkadelic,
The Chocolate Watch Band,
Soul Sonic Force,
Erykah Badu,
Marc Almond,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.